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University of Nigeria Research Publications
UMEH, Bessie Eziahakaku
Aut
hor
PG/Ph.D/86/4272
Title
Competency-Improvement Needs of Music Teachers in
Secondary Schools in Enugu State
Facu
lty
Education
Dep
artm
ent
Education
Dat
e June, 2000
Sign
atur
e
9 , TITLE PAGE
COIVII'ETENCY-IMPROVEMENT NEEDS OF MUSIC TEACHERS IN SECONDARY I
S C H ~ O L S IN ENUGU STATE
#
A THESIS PRESENTED TO THE DEPARTMENT OF EDUCATION, UNIVERSITY ,I
OF NIGERIA,NSUKKA
I
IN PARTIAL FULFILMENT OF REQUIREMENTS FOR THE AWARD OF DOCTOR
d F PIIILOSOPHY (Ph.D) DEGREE IN EDUCATION (CURRICULUM STUDIES)
UMEH, BESSIE EZIAHAKAKU
PGII'h. Dl8614272
JUNE 2000
APPROVAL PAGE
THIS THESIS HAS BEEN APPROVED FOR THE DEPARTMENT OF EDUCATION,
UNIVERSITY OF NIGERIA, NSUKKA 8
t SUPERVISOR
4 I'X EIINAL EXAMINER k HEAD OF DEPARTMENT
DEAN OF FACULTY
CERTIFICATION
UMEH, EZIAHAKAKU BESSIE, a postgraduate student in the
Department of Education with Registration Number PG/Ph,D/86/4272, has
satisfactorily co~npleted the requirements for the award of the degree of f
DOCTOR O F PHILOSOPHY IN CURRICULUM STUDIES. The work
embodied in this thesis is original and has not been submitted in part or full for
any other diploma or degree of this or any other University.
HEAD ~EPARTMENT O F EDUCATION
u ......................................... SUPERVISOR
This thesis is dedicated to all interested in the improvement of Music Education in
Nigeria.
ACKNQWLKDGEIMENTS
A work of this natusc rclics o n various influences, direct and indiscct, I'cx
accomplisIlment. To those who cannot be mentioned in this write-up, I hereby
acknowlcdgc indebkdncss.
Wortlly ol' special mcrltio~l is m y Suporvisor, I'rofessor S.O. Olaitan, 1 owc
irnn~casurablc ~ ra t i lude to his incslimable paliencc, undesskindin_p, encouragement and
diligcnt s~rpel-vision of this work.
1 am very p-atcful to Prol'. (Mrs.) E.J. b laduenu i , I b f ' . (klrs.) J.1. Okpala,
PI-of, A . A . Ali, Dr. A ~ n a Nwacliukwu, Prof. (Mrs.) Ilarbor-Pctcrs, Dr . J . N . Dgb-azi,
1.11-. T.O. Mgbodile, Dr. (MI -5 . ) c;.C. Offbrrna, Dr. 13.G. Nworgu, Dr. D.N. Eze and
otller lecturers in the I'aculty of'Educalion, who cither read this work, at various stazes,
ard of fc rd valuabIc advice, or gave encorrragenlenl. Equally, my colleagues in t hc
music teaching profession: Dr. A . K . Achinivn, Dr. (Mrs . ) I . Iferiiesia, Rev. Dr . C.C.
Lzevhe and Mr . d,S, Maison, dcsc.1-ve spccial mciilion and thanks f ) r their useful and
invaluable ccx~rsibutions.
l'he iatnl support of' m y husband, Chief Sir U.O. IJmeh arid the entire ~ n c n ~ h e r x
o f nay FdrniIy b.wards the cornplc-[ion of rhis work is inestimable. I am dccply grateful
to r km.
Finally, 1 remain erernally grateful to the Almighty God for sustaining rue
tilrouphoilt the period of this study,
TABLE OF CONTENTS
TITLEPAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i
APPROVAL PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i i
CERTIPTCATJON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii
DEDICATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ACKNOWLEDGEMEWS v
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . TARLF, OF CONTENTS vi
LIST OF TABLES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ai
LIST OF FIGLm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ABSTRACT xiii
CHAPTER 0.W: IRTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . 1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . Background OF the Study 1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . Stalement of the Problem 5
Purpose of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
. . . . . . . . . . . . . . . . . . . . . . . . . . . . Signihicance o f the Study 9
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scope of the Study 12
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hypotheses 13
. . . . . . . . . . . . . CHAPTER TWO: REVIEW OF LITERATURE 14
vl i
Theoretical Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . I 5
Theory of Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Concepts of Effective Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Competency-Based Approach . . . . . . . . . . . . . . . . . . . . . . . . . 18
In-service Teacher Mucation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
The Keyboard Inslmment - thc Piano . . . . . . . . . . . . . . . . . . . . . . . . 23
The Plurnarl Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
PrafesionaI Mucation/ Music Fxiucation . . . . . . . . . . . . . . . . . . . . . 26
Some aspects of the Musical Language related to the Present Study . . . . . 27
Review of relevant ProfessionaI Association reports and Curriculum Guides 29
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Empirical Literature 33
. . . . . . . . . . . . . . . . . . . . . . . . . . Studies on Need5Assessment - 3 3
. . . . . . . . . . . . . . . . . . . . . . . . . . Studies on Teaching Effectiveness 37
Studies on Competcncy-Based Teacher Education in Music and other Areas 42
Studies on In-scrvicc Teachcr Education . . . . . . . . . . . . . . . . . . . . . . 50
Studies on the Human Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Studies on Qualification 54
. . . Summry of the Literature Review . . . . . . . . . . . . . . . . . . . 56
CIWFTER THREE: RESEARCH METHODOLOGY . . . . . . . . . . . 59
Resmrch Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Area of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
vlii
Population of the Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . -60
Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Validation of the Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Reliability of the Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Administration of the Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Method of Data Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
CHAPTER FOUR: PETENTATION AND ANALYSIS OF DATA . . . . . . . 66
Research Question 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Research Question 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Hypotheses 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Ffypotheses 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115
Findings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
CHAPTER FIVE: DISCUSSION, CONCLUSION, R E C O ~ E N D A T I O N S AND
SPJMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338
Ratings on Importance Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Wings on Performance Level . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Results of the Two Hypotheses . . . . . . . . . . . . . . . . . . . . . . . . . . 158
Carrcllrsim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
Educational Irnp!fcations of thc Study . . . . . . . . . . . . . . . . . . . . . . 162
Recommendations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163
Ix Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Suggestions for Further Restarch . . . . . . . . . . . . . . . . . . . . . . . . . 165
Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
REW, MNCES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
APPENDICES - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Appendix A Inslrurncnt: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178
Appendix 13 Enrolment in Junior Secondary School Certificate Examination in
. . . . . . . . . . . 26 schools in Enugu State (1995 & 1996) 209
Appendix C Number of Srudents that offered music at the Senior Secondary
level from t!BO - 1994 . . . . . . . . . . . . . . . . . . . . . . 213
Appendix I) Perforrziance Trcnd of Students eruolled in Junior Secondary
School Certif'icatc Examination in Music in Enugu State from 1994
to 1996 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Appendix E Dafa on Music Teachers in Secondary Schools in Enugu Sta ta l6
Appendix I; Secondary Schools hi OrIu Educational Zone of Imo State Used for
field trial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Appendix G Forniulae for Cronbach Alpha. Mean. S tamlard Deviation. t-Test
Used for the study . . . . . . . . . . . . . . . . . . . . . . . . . 220
Appendix W Reliability Coefficients far the CIusters of the Music
Competencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221
X
Appendix I Responses of the Enugu State Music Teachers on the Importance
of the Three Music Cornpetenr;y Categories A, B and C . . 224
Appendix I Responses of the 40 Enugu State Music Teachers on their
Perfm-~nance Levels on the Categories of the Music
. . . . . . . . . . . . . . . . . . . . . . . . . . . . Competencies 226
Appendix K Responses of the 40 Music 'TeacIlers in Enugu State Secondary
ScIlools on the inlportance levels of the Clusters of the Music
Cornpctencies . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227
Appendix L Responses of the Enugu State Music Teachers on their
perfurmance levels on the Ciusters of the Music Cornpetencie331
Appendix M Performance kvels of the Respondents on the 100 Competencies
they rated inlportant for thc Effective Tcaching of Music in the
Secondary Schools showing the ones they possessed and needm2
Appendix N Perfor~rlance Lctvcls of the Respondents on the 15 Competencies
they rated 'Not Importanta . . . . . . . . . . . . . . . . . . . . 252
Table
Luw Enroln~ent in Junior Secondary School Cefiificate Examinations in Music in
26 Schools in Enugu State (1995 and 1996) . . . . . . . . . . . . . . . . . . . . 6
Performance Trend of Sh~denls E~lrollcd in Junior Secondary School Certificate
Examination in Music in 14 Schools in Nsukka Zone of' Enugu State from 1994
to1996 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Mean Scorcs for the Tcachers'Responses on Competencies Needed for Effective
Teaching of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Mean Scores for the Teachers' Responses on the Competencies Possessed and
Needed by the Tcacller Respondents . . . . . . . . . . . . . . . . . . . . . , . 87
The t-Test Analysis of Importance Accorded the Clusters of the Competencies:
Functional Keyboard. Vocal Activities and Professional/Music Education . SO9
The 2-Test Analysis of the hlcan Ratings of the Clusters of the Music
Competencies on their Performance Level in Functional Keyboard, Vocal
Activities and Professional/Music Education . . . . . . . . . . . . . . . . . . 116
xii
LIST OF IWXJRES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
Figure
I Musical Slogan for 6-3-3-4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
2 iVaslnw's 1Hicrar.chy of Needs . . . . . . . . . . . . . . . . . . . . . . . . . . . . ! 5
3 Sragcs of Aclolesccnr hflalc Changing Vocal Devclo~-rt~~cn~ . . . . . . . . . . . S I
4 Mean Ranges and Tcssitura Voice Change Stages . . . . . . . . . . . . . . . . 52
5 Shorlhand Form of thc lh-ation of Musical No~es . . . . . . . . . . . . . . 145
6 Shortliand Form of the Khy~lini of' " Mic wish ycn~ a M w y Christmas" . 145
7 The mclody u f "Wc wish you n Merry Christmas' on the Staff . . . . . . 146
ABSTRACT
The study was motivated by a great concern about the future and continuity of
Music Education in all tiers of our educational system, particularly in the secondary
schools. The concern stemmed from poor performance, low and declining enrolment in
the Junior Secondary School Examinations in Music and almost non-enrolment in the
Scnior Secondary School Examinations. Pertinent questions and doubts were raised on
ithe competence of the teachers currently teaching Music in the secondary schools. The
study, therefore, focused on the competencies needed for effective teaching of Music in
the swondary schoo!s in Nigeria using Enugu state as a frame of reference. Objectives
were stated, two research q~estions asked, and two hypotheses formulated and tested at
0.05 level of significance. h questionnairc, titled "Inventory of Competencies for
Effective Teaching of Music" (ICETM) consisting of 115 items, was structured, based
on three broad music areas: FunctionaI Keyboard activitics,vocaI activities and
professional educatiordmusic education and administered to a11 40 music teaohcrs in
Enlrpu Stare. Data thus colIected WCFC analyzed using the Inem and t-test statistics. One
Hundred (100) competencies were rated as important. Respondents rated themselves as
deficient in 96 competencies. The study has impIications for in-service training of music
teachers and therefore recommendations involving short term training, workshops and
seminars were made towards the implementation of the findings of the study.
CHAM'ER ONE
INTRODUCTION
Music is for everyone. Sincc the emergence of human society, the importance of
Music Education for community, national and individual development has always k n
recognised. It is a refuge in limes of troublc, a springing fountain in thirsty land (Nye
and Vernice, 1970), and a moulder of good cilaracter and g d citizenship (PIato, 1974).
To tbc Nigerian, as well as to any other African, it serves, primarily, a traditional
purpose and function (Echezona, 1978) and a part of the process of living itself (Okafor
and Maison. 1987). According to Ifemesia (1987), Music Education in the traditional
African Society, for example, has been flourishing by direct and indirect instructional
situations which mainly depend on practical teaching and learning by doing, observation
and participation as by oral transmission, listening and reproduction. Music i s conceived
as 3 medium of commurlication and social cohesion. of recording and of documentation,
af meditation and u:orship, of llcaling and socialisation, of recreatiork and cclebration
(Ifemesia, 1987). Through traditional songs and dances, young people learn a b u t the
customs and practices of their society. Obedience. honesty, habits of truthlirlness and
citizenship are instilIed in children through Music Education (Okeke, 1998).
For natianaI rnahiliz.ation in our modern times, (Okafor, 1987) pointed out that
music could be used as slogans for integrated rural dcveloprnent, for mutual love and
respect, for anti-iiliteracy campaign; fur health care, for nationaI IoyaIty and soIidarity;
for eradication of' etIlriic suspicion and distrust; for encouraging good Icadership and
followership and for fighting IIK ills of the socicty. Music as a vocational subject, offers
many job opporhrnities /o tIx individuat as a music educator, conductor, choir master.
music journalist, printer or publisher, an instrurncntalist or vocalist,
In Figure 1 below (Okafor, 1987: 17) demonstrated the use of music as arr
effective tool or vehicle for social cohesion and national mobilization,
Figure 1 : Music Slogan for 6-3-3-4
The above is a short four-har musical sentence in Key G (originaIly in solfa
notation but transcribed to stnf'l' notation by the researcher) used as a sIogan to
communicate the ultimate goai of the 6-3-3-4 (ix. six ycars in the primary school, three
years in the Junior Secondary School, three years in the Senior Secondary School and
four years in the tertiary institution) system (FRN, 1981).
Prior to the i ! I t t ~ ~ b ~ ~ t i ~ n of the 6-3-3-4 system in Nigeria and before Nigerian
independence, the content of music instruction was circumscrikd to singing in
c[crnentsry schooIs and extra-curricuIa activities in secondary schods (Ornibiyi - Obidike,
3
19S7j. According to a survcy conduckd in 1971 by Omibiyi, covering the whole Nigerian
Federation, tIierc was a prcscl-ibed schenic of work for schools which was divided into four
sectinns - vocal rraini~lg, pcrct~ssion work, listening activities and theory of music. In the
primary secrion, children wcrc first introducctl lo vocal and per-cussrori work and as they
progressed in their cducation, liste~lirig activilics. cllilrirc~i musl Ilavc Iiad a wosking k~~owlctlgc
of some basic musical tcrms, c.g. thythrnic valuc, sitig by sight. w i t e in staff riotation, playing
'rhc Secondary school sy#la'bus was drawn up by an overseas sy ndicatc - the Associatcd
b a r d nf the Royal School of Music i ~ r London. Thc prescribed scl~enle of work coi~crcd such
;irtx.s ;as aura! training, xigl~r-reading, tllcory and lilcratul-c of rnusic.
tin the Teacher 'I 'ra~n\ng Colleges, thc prescr-ihed curricula varied lion1 State to State
as in the elementary schools. ?'hc cu~itc~lt or instruction was categoriscd inio two: practical and
writlen. Praclical work ccivcrcrl ~iingi~ig ;ic(ivi[ic~; a d ins t lxm~r~kl playing - usually the
harrnoninn~. Written work included ~iiettiod of teaching, Ilistnry and ~ulirncnts of 11iusic.
Omibiyi's (1971) survcy li~rtIler rcvealcd that a l h u g h nus sic was a recognised past of the
curricula of t . 1 ~ Nigerian school, lilerc was no organised and effective system of' Music
Education. Music was a nlcrcwindow dressing withon1 uniform national ob.jective, appropriate
and rclevani curriculnn~ conkilt and instructiona1 materials fos training teaclicrs in music.
4
Government, in its National Policy on Erlucation (FKN, 1981) listed music as one of the
sub,jects to be studied at ail levels of t11c educational institutions. Music was also listed
as one of the subjects for which specialist teachers should be provided. T ie wlicy also
made a declaralicm to the efyect that "in ordct to er~courage aesthetic, creative and
musical activities, Government will make sfaff and facilities available for tlw: teaching
of creative arts and crafts and music in primary schooIs" (FRN, 1981: 13).
The objeclives of the 6-3-3-4 system, as outlined in the National Policy on
Education (I981), touch on the nature of the contents of some specific subjects, incIuding
music. At the primary level, the needs for aesthetic, creative and musical activities are
specified. Thus, a new subject matter, titlcd Cultural and Creative Arts, in which Art,
Music and Dance wcre intcgrated, was designed. lYx first curriculum is for Junior
Secondary Schools (JSS). Thc context is a mixture of Westcrn and Nigerian materials.
The second curriculum is for Senior Secondary Schools (SSS). Here the music
prugranme inchdcs: Theory ot' Music! consisting of Harmony and Counterpint and
Aural Training; Form and Analysis of Music and Dance; History and Literature of
Music; and Performance (on inxtrwme~its or voice).
111 the area of Harniony and Counterpoint, the sludents are introduced to the
Ianguage of music, the nature of n~usical sounds and Ihe science of combining thcm for
creative purposes. Such elements of ~nusical language incIudc pitch, chor-il progression,
cadence of finality, change of ronality, rhythm and rhythmic patterns, diatonic intervals
5
and melodic and rliqlhrnic dictat~crn. Aural tsa~nir~g is compulsory for music students. i t
invdvcs the developnlent of a g d car which IS an indispensable equiprmnl br any rnusic~an,
bc he a vocaIist, a n instru~nentalisc, a conductor or a composer. The sfudents arc also expected
to perform proIicientIy on son= musical i~lslruments of Western and Nigcriari origin, including
the piano. The iwlusion of Music Education at both primary, junior and senior secondary
feveIs provides a mediim through rich minds of youngsters are cultivated and developed to
appreciate their cultural and social heritage,
'Flius, examining the Nigerian Government policy witlim its global context, onc finds
tbc positiunofmusic quite encouraging. Therc is constant reference to ttic iniportance of t ~ u s i c
a r d it3 need in thc education OF Nigcrian youths. Music Education is an important area of
human endeavour. Deqpitc its importance, the teaching arid learning of music in secondary
schools in Nigeria are fiaughl 94th Inany problems. Several studies including Omiblyi -
Obidikc (1987), Ekernutalu and Ugokwe (198'3), A~iekive (1990), Aloamaka (1996), and
Okonkwo (1998). for example, have revcaled prohlcms of various kinds that impede rhe
effective teaching and learning of niusic in the schools. Thcse problems include ne~at ivc
attihrde: of teachers and students to Inusrc, 1cnv and decreasing enrolment of students at the
Jur~ios Scconda~y Sciiclol rnusic exaniinations; ncm-enroln~enl in the Scnior Secondary music
cxarninarions and the low levcl pcrfortnance by Illc sludents who er~rolIed in i t , as shown in
Tables 1 and 2 beIow.
Tablc I: Enrolment in Jnninr Srcandary School Cert ificrtf e Esa~nina t ion in ILln.4~ in 26 Schools (see Appendix I3) in Enugu State in 1995 and 1996
Division, Education Coinmission, Nsukka
Table 1 sl~crws ~hc- total Junior Secondary School enrolrncnl in 26 out of 33 secondary
schools in h ~ g u Statc i n 1995 arid I99G. Tlic rahlc also shows tho total cnr.olmct~t in the
the same period.
Alci-tough the total junior .secondary school enrolment ill 19C1h, was by far highcr than
the enrolment in 1995, yet the L ' I I ~ C I ~ I I I C I I L 111 111usic fib- tile Junior Secondary School C:crtifica[c
Examination in 1995 was higher than h r of 1996, I\ lesser ptrccnragc of students enrolled
in 1996 than in 1995. Of the secondary sclmols in Enugu, no sludcnt curvIled for the Scnior
Secondary School Ceriificatc Music Lsaminaticm in 1995 and 1996. E~irolmenl at [he sunior
7
secondary school certificate cxarnina\ions is worse than t h ; ~ ~ of lIle junior secondary school
cer~ificate level. Kccords a t the West Africa11 Examinatiolis CounciI oftice, Enugn, M~nis[ry
of ExIueat'ton, Enugu, show rhar four students trfl'rcd music in the S c n i ~ Schwl Ccrlificate
Exmination in Enugir State from 1990 lo I994 (sce Appendix C). Sirice then, there has been
Table 2: Performance Trend of Students Enrolled in JSSCE Music in 14 Schools in Nswlrka Edumtinn Zone of Eriugu State from 1994 to 1996
Toral Distirlcrion Credit Pass Failure
Enrolment
1673 5 5 108 I306 171
3.4 6.6 79.6 10.4 Source: Statistical Division, Edrlcarion Comn~ission, Nsukka Education Zone
Table 2 above reveals that very rew carldidates (3.4%) passed at dislinclion level whilc
the greater majority (79.9 %I) per-fbrmed ai lhc ordinary pass levcl,
Research reports have rcvealcd this incidcrlce of low enrolnlent and poor per formme
and have attributed it partly to the teachers' incompelence and altitude. For esamplc,
Ekemucalu and Ugokwe's study (1989) reveaIed that the performance problenis of J .S.S
students in music were gcneraily low and also that ihe rnirsic competencies of J.S.S music
teachers were vcry low. From their findings rheq: concluded that there is a high positive
corrdatioo between J.S.S. music students' performances and the music competencies of the
8
Music texher cornpctenct. and its rclatio11 to student perlbrrnancc and atriludc has also
hem of serious concern in other developed countries and i n ortlcr disciplines. F'os exal~lpje,
Barnes and Shim (1938), after investigaling Leach compctcncy and expertise i n five schools
in North Eist England, idc~itified music and sciencc as areas of scsious conce1.n. Carnlichael
(1989) found I h t possession of specific ccm~ptcncies for. inslrurncntal music teachers is
beneficial in teaching non-perf'orrnar~cc cIasscs. F%rrherrnore, 'I'aehel's (1990) ass'essnlcnl of
cTassroorn performance of' music teachers revcaIcd that music tcachcrs' competency scorcs
were below the mean of tcxllers in othcl- suh.jmrs.
Statement OF the Problcni
Given the poor perli~rniancc, low and decreasing enrolment in music at tho Junior and
Seninr School Certificate Examinations in Enugu Stale, the necessity to attempt Lo find a
solutinn becnmcs ury;mt. I n view , ( I I C I T ~ ' ~ I . C . of ~ I I C Iiigh posilivc correl;~tion fo~rld to exis(
hctwcen tcachcrs' incompclencc n ~ i d ~l lc slutlcnls' pcsformancc, the prohleni of this study, put
ic a question, is staled thus: What corripetences do Enugu Stale Secondary Scl~ool teachers
need to irtlpl-ow r heir nlusic tc;.aching6?
Pi~rpose nF the Study
The nlajor purpose of the study is to detcrlninc the competencies which secondary
school music Lcachers in Erlugu Slate need f o r cffcctivc teaching of rnusic in schools,
Sprcifmlly , the study is intended to
9
identifj the competencies necessary for ~eachir~g music cffeclively with respcut t3
(a) Functional Keyboard Activities
(b) Vocal Activilicss. and (c) I'rofessional EducationlIt4usic: 13ducariun;
idcnrify thc performance level of tcachcrs nn the competcncies oc-ccssary .for te;~ching
music cffccliveIg in secondary scl~ools in (Ire rl1rc.c broad music areas;
identify the cornpete~icics w1i1cl1 ihc music reachers i n Er lug~~ Srate secorldary schools
posse~s and rhc ones which tlwy r w d for wl~ich improvcrncnl is nceded;
Significance d the Sturlp
l'he findings of this study arc expcctcd to providc thc frarne\vork for ur~ivcrsities and
colleges o f education ol'foring music progranlmcs, for designing pre-scrvicc courses whicI.1
would equip icachors with the compctcncics nerdcd for el'kctive teaching of music ill tllc
ICeyboard. Vocal Act~vity, slid I'rorclisit)~~aldnilr~sic E r i u c a ~ i o ~ ~ nrca?: in pnrlicular. Sudl
programmes arc necessary t'or Ihcl irnprovcn~e~it and itpdating of' tlw gcncral nlusicianship o l
the teachers, Furthermore, the rcsuli of his study would mosl probably draw 171usic ~eacher
educators' attent ion lo some of t hu field-hascd music leaching competcncies which are
neglected or over emphasised in the training of music lcachers. 'This could be done through
disseminating t l~c ~ C S U I ~ S p~~ t~ l f ca~ io~ i -wi s~ ' . n y l ~ ~ c o ~ u i ~ ~ g sc11sitized to tlic reality of wilar.
cornpetel~cics arc importmt, musk education planners would bcgin to realisc that any
programme of training 31~1 retraining of music teachers that fakes inlo cognisrtnce field-based
10
Therefore to !Ire cxfcnl that thc findings of this sludy a r ~ ficld-based. 1he11. significance
is ccnrrcd on thc relevarm, useliilncss and appropriateness of findings as a basis for
developing conlpetencies for training and sctraining rnusic teachers for Nigcrian secondary
this study ~ i d d , most likely, seilsilizc them to a wide range of'co~npete~~cies which c a i w from
scvcral sources including IIK music curriculum a d the music ~eachcr educators. 'Thc findings
of this siudy would Ilelp lcachers Ioin~pr-ove [heir (cachirlg methods, skills as wcll as enhancc
their general musicianship. Tcacllcrs could usc [he list of compekncies for self-cvaluarion and
individual srudies for self-improvt.mer~t+ Tllc tcachers WOLM also bellefit from LIK in-service
education pr-ogrartmc try he organiscd based on the nceded competencies.
Upon disserninalion. ! l l ~ r~osulls of this study would, hopefiilly , e ~ l i g l ~ t e ~ i the
Inspectorarc Uivisiorl uf the Mi l~ i s r ry of liducation, I:nugu, 011 a widc I-arlgc of ficld-tusd
music teacher cornpetencics in the areas o f Functional Kcyboard Activities arid VocaI Activities
and ProfessinnaI Educatir?n/Music Education. 11 will also cnlmce rhe inkrest of polentiaI
candidatex for supe.rvisory furicrion. Tile findings of thc sludy will creak awareness in
supervisors on rhc in ipr tanf task requirclnent areas of [he Keyboard. Vocal and Music
Education Activities. Such knrswlcdge would also provide lmis or] which t11c supervisors can
evaluate their supervisory fulncfions.
11
The results of this study upon dissemi~larion ~vould hopefully, enlighten ~ h c
Profmianal Music Associations and Minislries of Education o n thc ncctl to orgariise
ivorkshops and seminars and in-scrvicc education based on the ncEdex! arcas. This is consisren~
with previous rescarch o n rlcetl assesslncnt, Olailan (IP78), Akubuc (198 I ) . Dy so doing,
tcacliers mi~ l i t gain morc grounding on ways and nicans c ~ f I~;tndJi~lg [lie s~~h icc r rnorc
cfkdvely . When this happens, studunh would n m l likely enrol i n music in thcir schools.
Proper handling of this subjjcct would, Ihercfare. equip the students wilh job entry skills that
rnighl be usefd to t h n even when [hey Icave school
Government of Er~ugu Slatc l~llghl also sce 1hc 1lccc1 lo provide facilities such as music
laboratory, music:tl instruments, especially the kcyhoard music kst hooks including stiitablc
piano and voice liicraturc
'The study apart from bring hcrleficial to ~ h c univet-silies and collcges offering n w i c
p rng ramnm. music Lcaclws, {hc Inl;pcclorr-tk Ilivision of blinlslrics of Educarion,
Professional Music Associririorls and students, is considcrtil i~npor tan t , gerlerdly, kcause i t
would hopefully providc thc dircly nccded empirical dara on improving rhc quality nf tcacliing
music in the secondary schools, through the icFcntificaIion and clisscmination. pul>licatkm-wise,
ot thc competencies needed by serving teachcrr o f music. I t would also uontribule lo thc
exist~ng literalure on music [caching in thc area of Keyboard, Vocal and Music Education
competencies.
Thc study w a s rcstrictcd to L I x nus sic teachers in scco~ldary scI~ools in Enugu Stale of
Nigeria. I t was delirnilcd to
1. identifying the importan! and needed co~npemcics for cl'fcc~ivc leaching of
teaching music el'fectivcly in thc scconrhry schools;
3. considering only threc areas of musical learning: Functional Keyba rd
Activitics. Vocal Activities am! Prufessional~Music~s Education Activities, and
Resea rch Questions
I . What are the ccirnpete~lcics needcd for effective teaching of music in the areas of (a)
Functional Keyboard Activitics, (b) Vocal Activitics and (c) Professional
Educatinn/Music E c l u c a h , in seconclary schools in Enngu State?
2. What lcvcls of he identified competencies in the music areas of (a) Furlcliorral
Keyboard Activitics, (b) Vocal Activitics, and (c) Professional Educationihlusic
Education arc possessed or needed by lhc secondary school music teachers in Eriirgu
State?
H ~ p t l ~ ~ s ~ s
'I'hc following Iiypotlicses which were tested at 0.05 levcl of significance guidcd the
study :
1 . There will bc no significant diflere~~ce in 1Iic mean ratings of'tlie level of in~purrancc
n f cornpctcncics l b r effuchc rcachi~lg ol'rnusic Ixtw~wi dhc NCE and Graduate music
teachers in Iinugu Statc secondary schools.
2. There w i l l he rlo significant tliffcrence ill the nwon sclf ratings of' the Icvc! of
performance of thc cornpclencies for cfloc~ivc tcaching of 111usic between [lie NCX and
Gradua~c music teachers in Enugu Statc secondary schocl.fs.
This cilspkr presenls the review of literature, which is organised in two sections:
Theoretical Literature and Empirical Literature.
Thc Theoretical Litcraturc deals with:
Theory of Needs;
Concepts of Effectiveness and Effective Teaching;
The Competency -Based Approach;
In-service Teacher Education;
The Keyboard Instrumnt - the Piano;
The Human Voice;
Professional EducatiodMusic Education;
Some Aspects of MusicaI Language related to the present study; and
Review of relevant Profcssio~lal Association
Reports and Curriculum Guides.
The Empirical Literature deals with studies on
NeedsAssessment;
Teaching Effectiveness;
Competency-based Teacher Education in Music and other arcas;
In-sew ice Teacher Education,
The Human Voice, and
Qualification
I . THEORETICAL L1mR.A-
(a) Theory or Nee&
Some individual theorists have made great impacts with their conceptual scheme
of motivation which have implication for clxssroor~l teachers. Madsen (1961) notedthat
personality devdopment can be described as a combination of x prcss and a need.
According to Madsen each theme in an individual's life is charxicterised by the existence
of a need in relatian to a prtrticular press, a stimulus - situation that has a potentiaI
influence upon the life of the organism.
In his view, Maslow (1962) saw need gratification as the basis for most hurnan
hehaviours. He argued that needs are arranged in rt hierarchy (see diagram below)
AL Aesthetic Ne ,
/---A '1 Desire to know or understand Being Needs
Deficiency N d s
Fig. 2: Maslow's Hierarchy crf Needs
16
Thus as m e ,general type o f wcd is satisfied, another. Iiigl~cs order of need will crncrge and
hccome operative in life. The deficicncy nceds can bc satisfied only by othcrs. This shows
that an individual can dcpctld on others as sources of need gratification. That of self-
actualization, desire to know 01- undersland aml acsrl~etic needs are the k i n g Nccds. A need,
rthc~ef~rc, devclops and molivates bctraviour m l y il' an individual is exposed to a certain
press ( G d and Ilrophy, 1977). Mcnce the dcsirt: lo satisry nr gratify Lhcse needs dirccts or
The above concepts of need, have iniplicalions, among other things, for teachers in
eeneral and the nus sic tcac11cr.s in particular. TIie teacher should concern himself with efforls L,
to Cirid our how best lo structure his classrr~orn activities so that slr~dents will be opportuncd
and rncouragcd to satisfy thcir individual nccds T h u ~ the kcy concepr to bear in ~ t t i~ td i5 the
occasional and appropriare involvemcnl of students' interests and necds in ( 1 1 ~ planning of
curriculum and instruction, Also, syskn~a[ic exposure 10 e~~vi~.onmenlal pressures will lead
to some reasonably slrong intcrcsts i n the students.
(b) Concepts of E T k t ive Teaching
Appropriate involvement of students' intcrcsts and needs in the planning and
interpretation of thc curriculum to achievc llic desired educnfiond goals depends on rhe
teacher and thc effcctivcncss of his ttaching. 'Fhe role of [he reacher with rcspec! to cffectiije
teaching and Icarning is impol-rant. Ani, Olailan, AkubiIo and Anadi 1(1989), Cannon ( 1 WF)
focu,sed their views on the leacher-factor. To Ani et al (1989: 103), cffectivc tcaching would
mean
the conscjous and deliberate a t temp by one wIio pos~csses reqnircd
knowledge and skills through some nlorailr accepted nicrhvds ro one
who lacks rhc knowledgu and skills wirh tlic inlcnlion 11181 lhc lattcr will
master. [he knowIcclge and ski11 so impartctl, and bc ahlc to apply tlic
knowledge and use the skill in solving prac[ical problems of' life.
Whik lhcy pasirsd' that tcaching effectiveness is n function of what Lo Icach, who will
teach, to; who111 it will bc taught and tlic condition undcr- which il: will be [aught, Reisbilrg
(IW) enlphasisccl curriculum evaluation and ~noclificalio~i as an effcclivc (caching
perspective. Cannon (1991) also focused cm the personal and professional qualities of thc
teacher fur effective reaching and Lcarming.
In agreement wirh [he views almvc, Silcock (1993) was of'rhc view thal cffccrivencss
tlcl~c~ids as nluch 011 ~hc indcpmlc~il a c l i o ~ ~ s a11r1 rcspor~sil~ililics or t l r Icarwr as on 11ic
hehaviour of tllc teacher. Hc fintiler poililcd our that rcachi~ig i~ivolves a 1;lr.g~ number of
diverse, social encounters which have to bc managed succesHully if pupils/~uden(s arc ro
be provided with consistent Iearnin~ opporrunitics.
The nccd for value-orienlccl rescarchcs has I~co~i crnphasised by various autliors
18
as a means towards effecting teaching and learning. For example, BartcIl (1991)
advocates action research with rcspect to effective teaching practices. Brown and Atkins
(1993) maintained that effectiveness is best estimated in relation to goals of teaching and
that research on effective teaching should consider successful teaching stratcgks in the
context of what Iccturefi and students value.
hoking at tk various views ar'lalyticalIy, one can draw the cor~clusion that
decision making on Teaching Effectiveness shouId be focused on various different
contexts such as, the context of teaching itself; students' characteristics, teacher
characteristics, particular situations, research and rcsearch findings which wit1 help
teachers to deveIap suitable ~neihods that work in their situations. In agreement with the
above views and concepts, the preserlt study Cc~used 012 the teacher contextifactor
t hmug h identify ing the competencies needed by teachers of music for effect b e teaching
o f nrusic in the Nigerian secondary schools.
(u) Thc Cmpttrrncy-Bas hpprnadi
Competency-Based Education (CBE) evolved in America as a
part of a culturally-baed movement resulting from two factors: (a) emphasis on
accnuntahiIity, and (b) need for perzo~~alisation,
In an important treaeise on CBE, Spady (1977: 10) as cited by Okafor (1981: 180)
theoretically conceived CBE as:
a ditca-based. adaptive, performance-oriented set of integrated processes
19
that facilitate, measure, record and certify within the context of flexibk
time parameters, the demonstration and known, expIicitly stated and
agreed upon learning outcomes, that retlect successful functioning in life
roles (Okafor, (1981: 180) quoting Spady, (1977: 10)).
In the above theoretical co~lception, co~npetencks are defined as "indicators of
successful perforn~trs in life-role activities such as (consumer. producer, family membcr,
engineer, drivcr, educator, for example).
Five classes of competencies are defined according to Houston (1975). They are:
Cognitive-Based Competencies - which define knowledge and intellectual skills
and abilities that are expected of the learner.
PerfctmanceRased Gompdcncim - The learner demonstrates that he or she can
do s o m e ~ i n g .
Conscqucnce-Based Compdencies - The person is required to bring about
change in orhers. In other wnrds, this tspe refers to what one can accomplish. A
teacher's cornpetencc is assessed by examining the achievement of pupils being
taught.
Affective Competenci~s - define attitudes and values. They are marc difficult to
assess than the first three types. They are typically embedded in other competency
statements.
Exploratory Competencies - have been referred to by educators as experience
objectives.
Furthermore, Houston (1974) posited that competency-based approachleduction
ernphasise a minimum standard of what anybody trained in the competency-based
education programme should achievc in order to be rated as a successful graduate who
can be effective. This movement has also been applied to teacher education as
Competency-Based-Teacher Fducation.
According to Akks (19841, Competemy-Based-Texher-mucation (CRTE)
atrernpts ta document what is necessary to make competent teachers agree on goals and
on the means to evaluate their success in meeting them, CBTE Focuses on the end
products of the teacher-training programmes: the behaviours demonstrated by the
graduating pre-service tcachcr. CBTE also parallels accountability by emphasising
specific behavioural outcomes of the programme and the importance of the evaluator
actuaI1y being ahIe to observe the desired goals. Abeles (1984) further mentioned that the
initial step in structuring a CBTE programme is to determine or identify the necessary
competencies that contribute toward developing a teacher who will perform as a
professional in a musical, knowledgeabie and ethical manner. The essential competencies
are to be determined first in terms of the total curriculum, and later reduced to
pcrfrrmances~in each of the classcs.
Okafar (1 988) emphasised the need to note that competency-based education
{CBE) has gone further to introduce, in special cases or circumstances, individualised
2 1
insrruction in currrculu~n impIemcnta1ion in a special n~elliod called the Learning Activity
Packages (LAP) methodology. I n this approach, learning competencies are packaged
according to rhe abilities or aptitudes of each pupilisluden~ and the individual proceeds to
accomplish the 'packaged' tasks at his own pace. I-ie is thcn tested out arld credilcd with the
amount of learning outcomes. I-ic notcd two important noriom that wcre addcd as CXTE,
applied this approach (CBTE) to thc professional trailling of' rcachcrs. Firs[, that objectives
were ba.sed on the role requirements of teachers and second, performance rathcr Illan
knowledge alone was rcquired per prograrrunc completion. By basing ptogranime
requirements and standitrds on Ihc hcllaviou~. of cffeclive leacl~crs, tcacllc~ cducalors could
most closcly atiurlc programmes to valid basc (Okafor, 1988)
(d) In-servicc Teachcr ErIuca ti011
organisation, content and rnclhods OF tcacher education nlusl be constaritly irnprovctl. Hcnce
a comprehensive policy is needcd to cnsurc Illat teaclicr education is recognised as a
continuous coordinated proccss tl~roughout thc teacher's professional career. In such a
.system, prc-servicc and in-service education s l io~~ld be integratd, bstering the concept of
life-long learning and the need for rccurrcnr cducalio~l (Irltcrnarronal Conference an Education
UNESCO, 1975).
22
Furllwmore, post civil war dcvcIopments and policy in Nigeria touchccl on h e
importarice ofand the nccd for in-service. teacher educa~iorr A rc1evant policy decision ivhicll
appeared in the Nigerian Narional 14lky on Education (FliN 1992: 13) revised is worth
noting viz: "In-service training rvi1T be be~elopcd as an integral part of continuing teacher
education and shall takc care o l a ~ i y 'rnadcqurrcies." 'I'i~c ahovc policy st;irclnent nJas acccplcd
in principle and el'forts rnacle to adopt and in~plcmcnt thern in the states. For exarnplc, in
Cross River State, following an in-scrvicc progranune mounted i11 1978, 420 unqualified
!eachcrr; with experience 1-angi11g fro111 1.5 - 40 years were seIected from the various local
government areas In the state and haincd (Onwnka, 1?S2). T l ~ c maill purpose of the training
course was ro cxposc pr[icipan"t lu rrnlodcrn conteinporary approaches, tcch~liqucs,
koowlebgc and skilIs so as LO impr'ovc thcir cl'ficiency and professional per~urniance, and lo
npdatc. participanls' knowledge of cssclilial subjccts i n priinary scllool. Somc of lIlc un~rained
teachers were thus enabled to merit direct entry in to Teacl~cr Training ColIeges in the State.
Pre-service training is the initial cdr~cation and (raining of an individual in gencral
education and educational methodology courses to preparc hi111 for a career in teaching.
23
For instance, Richard and Killen (1996) pointed out the pre-service influcnce on fcsson
planning. It is different from in-service training in that in-service training is undertaken
or designed to improve professional competencies of servmg teachers after their initial
training. Through this, tcachers renew and preserve themselves, a view also shared by
Sistrunk (1986).
Several writcrs have attempted to dcfine in-service education. For example.
Barms and Shim (1981) clefi~led in-scrvice education as a11 planned professional activities
designed to improvc the technical and pedagogical competencies of teachers, Ozigi
(19RI): 83) defining in-service education sees i t as "all those services and activities of
professional nature in which serving teachers participate in order to improve their
knowledge, skill arid competence." A synthesis of the above concepts shows that the
authors agree on the selection of appropriate means (activities of professional nature) to
improve the tcachcr on the job. llence in agreement with the above views, the p r w n t
study s,ought to idcntify those nlusic conipelencies whcre serving music teachers arc
deficient and in which they need retraining. Such identified needed competencies could
be incorporated into a planned programme of in-service education to improve the
teacher's competence.
(e) The Keyhard Instrument - The fiano R-'
Ernphasing the importance of the acquisition of functional piano skills Clark
(l98O), Peters and Miller (1982) and Hughes (1992) pointed out various piano keyboard
24
skills for various music educaLors. Piano skill is a trcmcndous practical acquisition f'or Lhe
music educator. Fnr [he tcacher of' gcrleral music, the piano serves for bolh (.he
accompaniment of class pcrfornianccanci rhe dcn~onstration of musical ideas e , g, rudirnenlary
training in playing scales, harmonics, nusic ~heory , si~ilple accornpa~iimcnts and in private
p i a l ~ ~ lessons.
Fur the instrumntal music, the ability to accompany simple solos will encourage
students to perForn~ sdo literature (nlusic written to accompany solo inslruments ranging from
voicc co 3s clivcrre as a horn in F or. ruba in double 13-fat key). h teacher should k 3ble to
xcon~pt is ls simple tr'ansposilicln lo niatch lhe range of thC singer(sJ. Ability itu transpose as
onc accompanies students is a skill that can he rmscd to an advantage in the keyboard area.
Furthcsmurc, Peters and Mrller (1982) poirlted out that a higher order keyboard skill is that
of sight-rmding musical scores. Sight-readiriglsightainging O H thc othcr hand, is a skill that
is directIy useful in thc lifc 01' cvery music.ia11. I t requires morc ability than playing music
written for piano, since thc visual ar.ra~lgmcnt of thc nu sic lliakes i t n ~ o t c difficult to rcad.
To further highlight the inlportancc of piano skills, Paters and Millcr (1982: 63) c ~ ~ i c l u d e d ;
Once you apply yourself assiduously to the study of
piano, you will find that you have a tool h a t you will
use virlually everyday that you teach music. It' you
neglect rhe s t ~ d y of piano, you will bc as much at odds
as a mechanic. without his wrenches.
25
Sur and Schuller (1958) posited out that a FunctionaI piano approach to piano
pIayjng has immense immeasurable values in teaching of school music and shouId be
given greater emphasis in the preparation of teachers and in the guidance of prospective
candidates for music teaching. Sur and Schuller emphasised that many teachers' musical
competence have been limited because of their failure to recognise the piano as the basic
instnment to all music instruction.
( f ) The Human Voice
Equally important as the piano keyboard for effective teaching of school music
is the human voice. The voice is the only musical instrunlent ownod by every human
being. Thus it is a natural gift to every human being. In connection with the effective use
of the voice and the effective teaching of singing, Arnold (1971) writes that the teaching
of sinring ... invoIves two main aspects, first the teaching of voice production whereby the
pupil Iearns to deveIop and control his voice sa as to sing with the greatest pnssible
beau~y of tone and to express his feding clcarly without in any way destroying tk purity
of the vocal line; and seco~id, the teaching of musicianship, which implies knowkdge of
musical theory, sight-reading languages, memory rates and songs and finally a deep
understanding of what, is sung in order to express the inherent mesage of the music in
the most beautiful and poiverfuI manner. A teacher of singing is, therefore, a [exher
who teaches all these things to his pupils.
The human voice according to Lynch (1983) is so powerful that when trained and
20
pr~perly dtrccted, 11 can sound liirough a fu l l orclicma Yet i~ 15 so dcllcalc that when
abused for a long lime, rt can be j r re~~a~ably damaged espcciiilIy when dealing witi~
adolcscenr voice. The imporrance of the Iiunm voice and srnging canriol bc over
emphssised. especially i n tiic musical devclapriic~lt of the adolescents. Arlewumi (1995) had
noted t h a t singing is one of'thc niost valued of Ilunian activilies, so much so that ils high
priorily is often rellccted in the amount of rccognirion it receives in diff'crmt societies.
especially African smet ics , Purcell (1992) had poinred out thc use of songs for class
enrichment and Wolf (1992) for creativc scsponsc acthitics by the children. For successful
sinsing expcsiences, particularly in relation lo adolcsccnts, ~eaclrcrs must, ttmeforc, cvolve
ways of doding with niany different tlevclopnmtal stagcs at o w time. Cookscy ( 1992)
recorn~tlcnds mcthds which have been devised for assessing and classifying voices
individually and by group, assigning singers to correct voice parts, a~$lying voca1ises in
classrmm and choral singing, eshblishrrlg Iiealthy singing Rabirs, and selecting appropriate
perfnrmancc litcrature.
(g) FrnTcssinnnl E rlucatinni3"l1sic Erlncat ion
1)rofcssional cducariontrnusic education compclwce for h e rnusic tuachcr is
~rnpurtanl. Emphasising teacher preparalionr b a d on nccdctl sompetencicq Sur and
SchuIIer (1958) pointed out thal all secondary school tcacl~ers should have a broad gencral
cducation in additron to thorougli traiurng in !I ICI I ficld of spccralisatio~~ in order- to Icach
efFectively. Sur and Schuller (195S), Leedtr arid I-Iaync (1958) and Synde (1965)
27
recnnlnxndeil specific professional education cornpcicwe fur rhe music rcachcr in addition
to his musical conipetencc. [bus i n hislory. ~xincil~lcs. philosophy of cducalion, gcneral and
educational psychology, child growth and clcvclopmenl. Sur and Schullcr ( I 958) recommend
thc I'ollowing foundalion courses which are parlicularly meaningful and fu11ctionaI to the
tnusic lcacher whcr~ [hey are of pl-aclic;il valuc. 'I'l~cy arc: Courscs in audio-visual
instruction; School Administration; Curriculum construction; Methodology; arid
Counselling and guidance, to rnentinn a fcw.
In addirion, Syndc (1965) maintains rhar the music teachcr needs both a basic
understanding and basic skills for scheduling co~npelence lo t ~ c able to funcrion cff'cclively.
Lceder and Iiayne (1958) conccrn !hc~nselves with the importance and need fix tlic music
teacher's knowledge of nu sic likmlurc and rccon~rncndcd l'ivc areas of' exccllcnce as
follows: Wide technical knowledge; tlioruugh understanding of what constitutes tone
pmduction; a good sciisc of lone quality;, ability to analyzc and rcco~nmcx~d rwnerlics;
adequate judgement of and priqmnimak atlenliorl to tcclir~ical and nlusical problerr~s.
(h) Some Aspects OF the Musical Laligunge related to thc Presctrt Study
This sub-section presents a brief rcview of some inlportant aspech of thc musical
I n n p a ~ ; e ('I'heory and h~lnsicianship) which arc ]-elated t o this study, Walton (1981)
ernphasised six arms in the fcaching of theory and niusicianship which ovcrlap and join in
a total musical experience of an individual. 'I'hese arc
28
(i) Listerzing - the basis of all musical experience. This implies a mental grasp of the
music as the mind selects, organises, and cIarifm what the ear hears;
(ri) Analysis - which simply implies how the composer organises his material. It is
not enough for students to know isolated chords and symbols. Students must discover
t k i r function in a partkular tnusic context;
(iii) Mmicianship - To establish theory as a vital aspect of the curriculum, teachers
must help deveIop the studenrs' ability to identify the elements of music and develop their
skills as 'tools' so that they can he better musicians. All aspects of music, harmony.
polyphony, style, texture, form, structure, combine and become the basis for the study
of music literature, This syn~hesis is rightly called musicianship which pulls everything
together a- to increase and deepen students' insight. In Schouten's (1982: 40) view, "a we!]
rounded curricuIurn should incorporate all phases of the career such as general music,
vwaI music, instrumental music, and sn on;
(iv) Mwic Reading - Music reading skill is a high ordcr skill (Peters and Miller,
1982). Elliot (1982) writes that one of the objectives nf wr music programmes should
be to praduce musically independent students who have the skills to continue with music
after high school graduation, Gregory (1982: 462) further states that 'a prime educational
goal of any discipline is the development of an independent learner. In music an obvious
prerequisite to independence is the ability to sight-read". As the person who cannot read
is deprived of corning to grips with any form of literature for himself, so is the person
29
who cannot read music deprived of active participation in any music that he has bot
memorized by listening to others (MurselI, 1982). Continuing, Mursell(1982), Middleton
(1984) argue that the teaching of Music Reading could be justified on the basis that it is
a tool skill that car1 lead 10 e deeper understanding and deeper appreciation of Music;
(I)) CrmCivity;
(vi) M s i c Writing and
(vii) Kqboard H a m m y - which offers a practicat means for applying ail the other
skills in other areas and focusing them on an instrument. It enhances the study and
unrlers tanding of music. The activities here are playing by ear, hannonising nlelod ies.
inlprovising, score-reading, deriving chord studies from the music itself (WaIton, 1983).
(i) Review of Relevant Professional Amciation Rlepart.c; and Carricull~w Guid~s
This sub-section deals with the review of reports from Music Educators National
Conference (MENC, 1972) USA; Florida Music Education Association, (FMEA, 1981)
and Music CurricuIurn Guide (1988), Departwent of Education, Alberta. These reports
have thrown more light on music tcaclier competencies and have highlighted the
rationale for carrying out this present study. inherent in any profession is the need to
continue growing and be revitalised. Because of this basic need, it is appropriate that a
text on the foundation of music education examine the most active arena that not only
prepares members for the profession but also is the chief means for the in-service
training of its members already in the field. According to Klotrnari and Andrews (1972),
30 the developnent of music teacher competencies should result from the total prosranme
of the teacher training institution.
Most concerns in teacher training have not changed. It was such a concern that
caused MENC to create a commission to examine teacher education programmer in
music and to recommend changes that would lead to thc improvement of these
programmes.
In their Teacher Education in Music: Finai Report, KIotrnan and Andrews (1972)
not only developed a set of rccornrnendations designed to strengthen the training of
individuals preparing to be musk educators but also identified qualities and competencies
necessary for such teachers. The Commission also published "Recommended Standards
and Evaluative Criterian by which rnusic education departments in colleges and
universities could evaluate their offerings.
Each criterion in the Final Report identified a specific competency and provided
pertinent questions for determining what existing conditions were available to assist in
promotin2 skills and competencies and how well these conditions fulfilled this need.
Three areas of Music Teacher Training on review are : General Mucation, Music and
Pmfessional Education. The Final Report also reviewed personal qualities involved in
seleding and training future music teachers for the schools. The &rmnission also in the
Final Report identified and listed desirable competencies in broad categories thus:
Qualities and Competencies For Mllric Educators Personal Qualities:
Inspire other.5;
Continue to Iearn in their own and in other fields;
Relate to individuals and society;
Relate to other disciplines and Arts. They must seek relationship between music and other disciplines;
Identify and evaluate new ideas;
lJse their imagination;
llnderstand the role of the teacher.
Musiral Competencies ('Pcrformancc)
Perform with rnusical understanding and technical proficiency;
Play accompaniments;
Sing;
Conduct;
Supervise and evaluate the performance of others;
Organise sounds for prsonal expression;
Demonstrate an. understanding of the elernents of rnusic through original cornpasiltion and irnprwisafion in a variely of styles;
Demonstrate the ability ra identify and explain cornpositional choices of satisfactory an8 less satisfactory nature;
Notate and arrange sounds for performance in school situations;
Identify and explain compositional devices as they are employed in a11 music;
Discuss the affective results of cornposirional devices;
1)escribe the means by which the sounds used in music are created.
Prcifmional Qualification
Express their philosophy of music and education;
Demonstrate a farniIiarity with contemporary educatimal thought;
Apply a broad knowledge of musical repertory (collection of musical information) to the )earning problems of music students;
Dern~nstrate by example, the concept of the comprehensive musicians dedicated to teaching.
Priorities must be established in order to develop these cornpeterlcies of major
importance during the Pre-service period. Those qualities and competencies must be
realised (or acquired) ny a continuous process of self-evaluation and study. The good
music texhcr discovers many opportunities, both formal and informal, for improving his
performance as a musician arid teachcr and this process never ceases,
AIso in June, 1981, the Florida Music Educators Association (FMEA) published
its awn pamphlet, Music Teacher Corn~etenciw, Palmer (198 1) listed and divided
desirable guide. This guide autIines a secondary music programme for Alberta, Canada,
that aims at:
developing s k i k in listening, performing, and using notation;
encouragjng students to strive for musical exceIlence;
enabling students to appreciate music;
fostering seIf-expression and creativity; and
making students aware of the history of music and the inlplications of nlusic in
society.
Addirtianal goals are wtlincd for the instrumental music programme that enables students
to deveIop competencies and strive for ex~ellence, within the limits of their individual
capabilities. in the arcas of playing, listening, reading, creating and valuing music.
GuideIinm for irnplcmenting ek instrun~ental music programme arc outlined addressing
such areas as shldent enrolments, student scheduling, teacher scheduling, faciiities,
suggested methods of evaluation. cIass procedures, budget management, and pmfessional
support. The remainder of the guide discusses requirements for successfuI wide-
percussion and strings programmes including technical-theoretical skilh, interpretative
skiIls, synthesis skills and authorised learning resources for each area,
2. EMPIRICAL L I T E R A T W
(a) Studies of NwtBAsessment
This subsection presents various research reparts on Needs Assessment and Need
Theories. Most writers have emphasized that bcibre any in-service education programme
can be established, the felt needs of teachers who will participate in such a programme
must be ascertained. As stated by Hughes and Dougherty (1977), perceived needs of
33
teachers must hc consiclc~d end also in-service education progranunc should be bascd on
the identified needs of rhe tecxlm-s which should bc structured to per mi^ thcir ac~ivc
invoIvcinent.
Most researchers have aclatcd their sludics o n need itlcn~ii'ication to i~nplications for
in-service education. For exatnple, Akubuc (1981) invcsligntecl the in-service necds of
sccondar!; school principals in instructional supcsvision where principals of secotdary
schools in Anambra State necd professional i~nprovcrnents. IIc for4rnuIated three research
q~restions and one hypothesis. Dala lverc collcctcd through two scls of qucstions on
importance and perfornlrznce qucstions for the principals. 'f'he sample cornpr~sed I44
secondary school principals randomly drawn fro111 five educational zoncs in [he state
Means. standard deviahns and chi-square were used in the statistical analysis of the data.
The resull showcd that out of the tcii major li~nctional areas of i~~st ruct ion (which werc
organised in clustcrs), six were poorly obscrvcd.
Still based on need idei~til'icalion is Anyakoha's (1982) study. Sllc idenlified 98
clothing and textiles compckncy n e d s or post-p-imaty school teachcrs of Momc Economics
i n Anambra Statc of Nigeria. Three diffcrenl oatcgorics of I tome Economics tcachers who
responded to her structured questionnaire were i n v o i v d In thc study. Her s i d y revealed
that thrir (the respondents') exprcsstd pxforlnancc ralings of the cornpctencics wcre
generally lower than thcir pcrccived irnimrtar~e ratings of
35
competencies by the three different categories of Home Economics teachers. This implies
that the three different categories of the Home Ekonornics teachers needed improvement
on all the identified clothing and textile competencies.
Other researchers who based their studies on identified needs for teacher
improvement arc 3s follows: Crawford (1979) who carried out a study aimed at
derermirr ing the perceived in-service needs of vmatiorlal teachers working with
disadvantaged and handicapped students. He found that significant differences in
perceived needs existed anlong the different categories of the respondents. Igbafajabi
(1 888) revealed that in-service teachers showed significantly higher needs for training
than pre-service teachers. There was a significant difference between the expressed and
the observed necds of the teachers.
Kole (1987) conducted an investigation on needsassessment. The purpose of his
investigation was to develop isolation reduction strategies in Order to reduce the feeling
of isolation expressed by many of' the Nova University programmes For Higher Education
regional cIuster students. A needs assessment was initiated to discover what the broad-
range needs of regional students were and to activeIy develop strategies to meet those
needs. He also conducted a needs assessmer-it among the South Florida Local cluster
students to determine whether their feelings of isolation were the same. A content
analysis of the regionaI cluster survey results revealed that a majority of the regional
students did experience feelings of isolation, The main area of concern was the general
36
communication gaps between students faculty, research associates, teacher ... The
response rating of the local cluster survey was too Iow to develop reco~nmendations.
However, 111e regional rluster survey was adequate enough to devclop the following
recornmendations to increase regional cluster conlnlunication system-wide; provide more
dctailed prapramme infm-malion, arrd organise programmes for Higher. Education regional
information into an "orientation manual".
Concerncd with Maslow's theory of human motivation in which Maslow saw
"need gratification as the hasis for most human behaviours, Betz (1984) conducted a two
part-test on Maslow's theory. His study supported Maslow's model of regarding need
deficiencies and their relationship to life. He explained the relationships between nced
deficiencies and need importance and need deficiencies and life satisfaction in female
college graduation numbering 474.
On the need for adequate preparation of teachers in the Teacher Education
preparation colleges, Tracz (1987) conducted a survey study. The purpose uf the study
was €0 survey the needs of the highlsecondary scl-rool band directors (N = 250) and that
of the college music educators fn = 150) concerning their pre-senkc prcpa~a~ion in
marching band techniques. The results reveaIed that 34% of band directors had no
prepatation while 66% were prepared in either a partial or full marching band technique
classes. The college survey revealed that 44% of the colleges offered a fulI marching
band technique course within the curriculum, while 50% did not.
(b) Studies on tea chi ti^ Elfcctivctwss
S~ucIics rwic~vcd uncle^ this suhscclio~l, which have inlplicatlons for Teaching
Effeciivcncss focuscd o n tllc teacher-('actor basis. Oladc-io (I98 1 ) . Nnabr~o (1988), and
Madsen (1990), importance of kcyboard skills for cffectivc ulusic teaching (Wclls, 1987);
teaching common lo all classrooms (Iludgins arld Herlry (1992); nlodcl for kacher
motivation and instroctio~l technique; and characleristics of effective teaching (Ali and
A Imbue, 1990).
Sonic studies on 'I'eaching Eff'cctivcncss arc relational iri design, for exampIe
Nnabuo's study (1988) is dcsigrlcd to exarninc specifically t l~c relationships between teacl~er
eff'ectivcncss and academic perfor~nancc of some secondary school students (Form 4) in the
hIlo\.ving subjects: IIistorg, Chemistry, Biology and English Imguagc iri Rivers State.
111 llis study thc following 1iypnrhese.s werc tested at significant Icvcl of' .05.
'I'l~crc is no significant tlif'kreucc bc.t\vcc~l typc of scl~ool and tcachcrs effectiveness (I'L 0.05).
'I'herc 1s rlo signil'ica~it differcnce between Ioca~ion of' rhe school and tcachcr cffectivcr~ess.
'There is no significatit diffeswcc het\vcen teacher's sex, age, marital status, prrsfessinrial qualifications, teaching experience arid sturlerirs academic pcrfwmar~ce.
In this method, a total of'six secondary scl~or~ls wcr-e selected, Stratified random sa~npling
technique included schools fro111 Phalga, Bolga, Kelga and Oyigbo Tai-Elerne Local
Government Areas. Thc pop~~latiorl of'the study includcd 270 tcachcrs and 270 students,
3 8
d r a w from single malc schools, siriglc femalc sluderlts and co-educational instiblions, Four
instrulnents were used for the data collectiot-I, viz: the 'Teacher Demographic inventory
(TDI), thc Teacher Self-rating 1nvcntar.y ('f SI) and Students; Rating Inventory (SKI). The
instrumenls uscd were basically desigued for this research and were pretested for validity
and rcliallili[y.
Hc used both the analysis of' variance 2nd 1-tesl of' significance. The itenls were
crganised in clusters. Nwabuo's (1988) study has sl~oivn a positive relationship betwecn
teacher's sex, marital status, teaching experience a11d students' acadenlic pcrformancc
(teacher cfi'ectivencss). I ( means that 111e above variable could be uscd for predicti~ig
academic pcrlormance of studcrits.
hiladsen's (1990) study preseritcd experiments or1 thc relationship between teacher
i~lter~siry a11d Icvels of student attentiveness. I-Ie reportcd that increased Icvels of teacher
intensiiy led to greatcr srudent r~rtcntivcness. His finding has significant implications for
the general music instruction which clcrilands general musicianship on the part of' the
:eacher. On the other I m d , tllc rescarcller felt that the teacher factor could lcad to
teaching ineffectiveness, i f adeqnalc steps wcre not l a h i both in the pre-service and in-
service education. This is part of tile ralionalc for the preserlt st.udy. 111 agreement w i t h
this view, Oladejo (1991) using Nigeria as an illuslralion, argued that the English-as-n
39
second-Iangaage (ESL) teaching ineffectiveness in developing English countries, resultu
primarily from chronic teacher-related factors such as shortage of well-trained teachers,
use of unqualified teachers and lack of in-service opportunities. He advocated higher
standards of prof&onalism in E.S.L. teaching.
It is through effective teacher educatiori programmathat the Nigerian Educational
abjectives can best be achieved since training is one of the conditions which can influence
rcacher effectiveness. Bello (1981) has reported a startling revelation from a research,
i t was revealed that untrained teachers performed slightly better than trained teachers in
m m s of student gain scores. A survey of visits he made to sample some training
institutions in the Lagos metropoIitan, reveaIed the f'act that in a 3-4 year programme,
only about I0 weeks were spent on teaching practice. The rest of the time was spent on
theory teaching. He suggests an increase in the length of time given to teaching practice.
In agreement with the above, Okafor (1988) highlighted the need for effective teacher
preparation programme when he pointcd out that curriculum should in essence be result-
mien ted and performance-based.
Fisher (1991) has maintained that nlusic teacher education should attend to the
development of personal skills for effective classroom teaching. For example, the skills
for conducting and directing the school marching band can be part of the music education
programme (in reference to Tracz's (1982) study earlier cited). Personal skill acquisition
iil pianolkeyboard playing, among other things, goes a long way to erlhance music
40
teaching effectively, especially i n the area of n~usical aestherics and illustration of
musical concepts.
In the light of the foregoing, Wells (1987) conducted a study on keyboard skills.
Thc prlrposo of his sludy was [o find which keyboard skills arc rakd as nmst i m p tan[
h r music tcachirlg and which a r c nlost. oftcn used in pi~blic scl~ools music (I'SM)
teachirrg. (PSM as used in this study refers to teaching from kindergarten - Grade 6)
Two groups that are ablc to evaluate tho in~portance and ulilisation of' keyboard
skills in PSM are I'SM toachcrs and collcge or. university music faculty members
involved in the preparation of piano proficiency exarninatior~ from 29 North Carolina
colleges or universities offcring degrees i u music educi~rion were collected and a rating
list of skills were compiled. With regard ro PSM teaching, the subjects evaluated the
importance of' skill and subsequently evaluated the usefulness by appropriately placing
nunlbzrs 1 through 13
'The Spear-marl Iiank Order currelarioi~ cocfficicnt and rlw t-test wcrc uscd to
delemine whether signil'ican[ correlations csisted bctwc-cn ratings of groups. Thc
No significant correlation cxists betwen ratings of PSM teachers and collcgc or universilp rnusic teachers regarding thc importance of' keyboard skills in PSM teaching, and
No significant correlation cxists hctiveen ratings (FSM) teachers and college or university music tcachcrs regarding the usage of kcyboard skills in PSM teaching.
41
These findings imply that there is an agreement among the respondcnts regarding
piano skills which arc inlportant and useful in PSM teaching. Results also indicate that
ratings af b ~ t h the importance and usage of keyboard skills irx PSM teaching are nut
influenced by the fo1Towing variables:
Highest degree obiaincd
Major arca of conccntntion (piano)
Piano proficiency examination requirement
Type of college or university piano study.
Mudgins and Henry (1992) based their recommendation on a sunrey of Ohio's
elementary and high schoul pri11cipaI.s. They proposed the following list of specific,
selected set of effective teaching elerncnts : classroom clirnate; questioning, set induction
(to spark up student tnotivation); stimuIus variation, and reinforcement and closure. The
authors maintained that principals will find these elements practicalIy based, observabie,
camrnon to all: clasxroorns and rneani~lgful to all teachers.
Furthermore, Ali and Akubue (1990) conducted a study to
determine the nature and scope of activities which constitute the duties of the Nigerian teacher (primary, secondary and tertiary);
identify teacher characteristics which constitute those of effeclive teaching. and
determine the best way these characteristics can be imparted to teacher trainees.
In their sample, the researchers randomly used four States. From each Stale, 5
42
teachers: 50 secondary school reachers; 50 primary school pupils in psi~nasy six; 50
s ~ o n d a r ~ s c l ~ m d students in SS 11 and sarnplcd principals, deans and provosts in colleges
of education and universities. The instrument used for collecting data for answering che
research rlucstior~s of the study was Practical-Bascd Inventory for t k preparation of
Teachcrs (I'IPT) - a sliglir rnodificatior~ or i~lslru~iien~ c.lcvclopcrl by Ali and Dctlga ( 1 983)
in two related earlier studies. The inlerr~al corisistency value of the inslrun~enl was
de-kmnir~ed ~llrougk Kudcr-Richardson forrnula 21 calculation value = .9 1 .
Their study wvealed the Sollowing itenis and their ranks as charactcrislics of
Effective Teaching as indicated by all the respndcnts. In heir study such items relating
to the needs of students werc raled very Iiighly by a verll high percentage of the
respnndenfs. Such irerns as "Quite helpful to the sludcnt in his work by explaining,
c l a r j f p g and using cxarnplcs to illr~strale ideas, concepts, lopics etc." and "shows
interest in students' work elc and rlw psychological pressures and aspirations of
studcnts . "
2(c) Studies on Competency-Based Teadier Education in Music and other Areas
On identification and classification of Co~npc~cncies, RainIan (1975) conductcd
a research s~udy. 'The purpose of Lhc research was to idcntify and classify in a llierarchy
of competencies. objxtives of studcnl teaching in music that should have been achieved
at the ccmplclion of student teaching,
In his proccdurc the initial list of objcctivcs uscd i n the de\~efopmetll and
43
administration of the Delphi survey was developed from the review of literature. The
objectives wcre placed in a ~Iassification system under major headings of competencies
aIso devdoped from the Iiterature. A seven-step delineation process reduced the original
list of objectives to 134. Thc lhird step in the procedure involved the random selection
of a representation of institution from which cxperts in rnusic education and student
teaching could be chosen as respondents to 3 survey. The fourth step was the
administration of a partial DeIphi survey consisting of Iwo questionnaires. Delphi survey
may be defined as a methodology used to obtain the most reliable opinion feedback. In
the first questionnaire, the respondents were asked to assess the list of objectives and to
rate the items by degree of importance. On the second questionnaire, the respondents
were given the opportunity to agrce or disagree with the results of the first survey thus
generating data for the construction of the final herarchy of objectives.
To establish the degree af correspondences between response to the first and
=and surveys, the ranked ilctns from the two queslionnaires were subjected to a
Spearman's rank differential method for dctennining a correlation coefFicient. It was
subjected to a test of signif cmce.
The findings reveaIed that a correlation coefficient of .65 between the surveys was
significant beyond .Q1 level. Ilowever, the data from the s f d y suggest that there is
agreement on those objectives that are important. The study also succeeded in identifying
and ranking, in a hierarchy of competencies, objectives of student teaching in music
44
education as ranked by experts. Thc hierarchy competencics and otjectivcs reprcscnt the
priorit~cs of thc teacher training profession in music. 'The purpose and procedure of'this
study guided thc present study. TIIC rclalinnship is seen in the identification of
con~petuncii's and the various similar steps taken in the proccdurc which the prescnt study
adupied.
Lorccr~ (1981) conducred a research study on competencics. The purpose of her
study was ro asccrlain what compete~~cics professional accompany iug teachcrs deem
sufficiently important to be inciudcd at snmc poinl in the devclopmerit of a prcifcssional
acccrmpanisl. An accornpa~lisr is a pcrson who supports a solo singer, congrega t io~~ or
orchestra while playing eittlcr on a kcyboard instrun~enl or olllcr inslr'umcnt(s) providkg
a harmonic background. It was aIso aitncd at finding areas rnosl consistently very
importarit by the tcachcrs and professionals.
Research p rob lem were forrliulated lo dc~crrrii~le whal dil'Tcrrrices cxist betwecn
1Iic c)pini011 01' t c a c k r illid p r ~ f c s s i ~ ~ ~ i ~ l s regard irlg necessary skills in prcparat ion of
accomparlinient with Illc following calcgories of competencies: Pianistic (keyboard)
skills, Accotnpa~iyirlg skitls, Vwal skilk, Linguistic skills, K~iowlcdgc of ~ q x r [ o i r c .
U~lderstanding in hunian rolntionship and Other compete~icics suggested by tlic
respondents.
I h l a were colleckd by means of' a valida~ed quest io~inai~c conraining items
grouped into the scvcri catcgorics listed above. These were sui t to the 20 professionals
45
and 31 schools offcrmg accompanying classcs. Each competency was rated first for its
relative ilnporta~lcc to a p~oiessional acco~npanis! and lhcn for its appropriate place In thc
s q u c w c of an accolnpanisl's prcparalion. i\ chr-square test uscd in comparing two
groups regarding the i~i~portancc of' uach cornpeiency shuwcd virtually no significant
UiWeic~cs.
hrcas most consister~tly considcrcd very impor~anl by teachers and professionals
were knowledge of repertoire, undcrstanding i n human rclatio~lstiips, sight wading,
rehearsal and pcrformaricc compctcnc~es, cornpctcncics in intcrpl-eration and pianistic
skills. Othcr arcas like con'cct phonetics and translations i n G c r n m , French and Italian
were considcrcd lcss imporlant .
Furrherrtxm a atlafed a r m in which rcscarches have also rcportcd tlielr
invesligation hascd on compck~cy-1.ra.d education is in the trahi11g of social studics.
For example, Felder and Scliomhurg (1981) i n tlicir* write-up discussed an approach
which used thc dcvclopnwnt principles ol'co111j~c~~11~y-bascd alucation as guidclincs Sol-
training o f social studies tcacIvm at thc Uni\wsi[y of Ilouston. Co~npetencios irlcntifrcrl
for training socIaE sfudies teachers wi l l bc either gencric or specialised. Generic
cnmpctencies reflect those teaching behaviours considcrecl mxntial for all tcachers to
master so that they can teach their subjects within thc context of thc cntire school
curriculum. Spccialised rompi!tuncies for social studies can thcn build and extend these
gcncric skill areas and respnd to the unique dimnsions of social slud~es education. Thc
46
paper lists the 16 generic cornpetencies which all students preparing to teach at the
University of Houston are expected to detnonstfate. In developing the social studies
competencies the Houston faculty first established assumption, for example. "madel
hehaviour expected of their students'. Social studies cornpetencies were then grouped into
four components:
Goal delemination in the social studies;
Insfmctional design, strategies and material in the social studies;
implcnlentation and demonstration in social studies, and
consequence and evaIuation in the social studies.
Competency statements arld instructional objectives for each component were
developed and served as the basis for the design of karnirlg experiences for pre-service
teachers. The use of the developmental principles of competency-based education which
Felder and Schomburg (1981) adopted also provided a guideline for the present study.
Not only is competency-based approach applied in music teaching, it is also
ernploycd in science. For example in 1988, Barnes and Shim, in their report i~lvestigated
teacher competency a d expertise in five primary schools in North-hst England.
Identifying music arid sciencc as areas of serious concern, [hey stated that it is desirable
to use specialists to cover gaps in the classmom teacher" knowIedge, skills and interest.
In 1983, Stanford and Ernest gave a rcpm of their investigation in a paper titled
"Sbdent 'Teacher Perceptions of Teaching Competencies related to educational nledia."
47
In this write-up the educational media competencies were identified as most i~nportant
by Alabama student teachers. Also the competencics they feel that they possess and the
rel~tionship between perception of cornpefcncy levd and impdance was investigated for
majors in five programmes: Special education; N = 12 certification; elementary
education, early childhood cducation, and secondary education. Subjects were 5 18 student
teachers in the latter half of their student teaching exprience at 15 Alabama Universities
during the spring of 1982. Data were collected through Inventory of Teacher
Competencies Related to Educational Media (ITCREM). This includes a Likert-type scale
of 69 structured items to assess perception of importance level of competencies in
educationaI ~nedia. Findings showed significant positive correlations between the upper
I0 ranked competencies and the lower 10 ranked competencies for importance and
cmpeiency Ievel. The findings also indicated that student teachers received traditional
preparation in education media. There were no significant difference$ in the perceived
importance of the competencics within the five programmes, or in the levels of
competence. T h e four inventory i t e m related to microcomputer operation received the
lowest ratings of importance and competency Ievel. Appendices indude Iists of
p~rtklpating I n s t h t b n and cornpete~icies ranked by importance as indicated by mean
scores.
The importance OF instrumenhl music pmgratnme in the music curriculum of
primary, secondary and tertiary institutions cannot be over-emphasised. For example, the
48
keyboard instrument, the piano is very important to the classroom teacher. It is therefore
very necessary for the classroom teacher to acquire the necessary functional piano skills.
Wich this in view Wendy (1988) carried out a study of piano proficiency requirement at
the institution of higher education in the State of Oregon.
The purpose of Wendy's (1988) study was to investigate the states of piano
profkiency requirements related to the needs of music educators in the State of Oregon.
In his procedure, a three-wdy conlparison was undertaken.
First, literature related to piano proficiency was e x a m i d . Second, piano
proficiency requirements and curricula were reviewed a1 fhe six colleges and universities
in the: Oregon State system of Higher Education where programmes exist. Third, opinion
of Oregon pubIic school music teachers were sought regarding neecled and used piano
skills. Also in interview controlled instrument was constructed to aid with the coilection
of data from the colleges. Interviews were then conducted on campuses with instructors
who taught piano proficiency skills. The interviews focused on nine piano skilk areas
which included
accompanying
plajring chord progression
harmmising
improvising
playing piano repertoire
playing by ear
score reading
developing technical ability, and
transposing.
50
research. Other studies which dealt with identification of competencies for improvement
purposes in other areas include Onyike (1981), I k e m and Offorma (1990), Madubuko
(1990) for example, in Nigcrian secondary schools.
2(d) Studies in In-Service Teacher Education
On the need for in-service Tcacher Education in Nigeria, many writers have
written among whom t: Adeyemi (1989) who in his write-up delineated the
guidelines for pre-service education of Nigerian social studies teachers; the way that core
social studies should be taught; and thc qualities expected of social studies teachcrs in
Nigerian society. Abolaji and Rencau (1988) discusseda study of agricultural science
teachers in 60 secondary schools in Kwara State, Nigcria, that of'fered agricultural
science courses during the 1985 school year. The survey revealed a necd for more in-
servicc education, bclrer funding and better equipment in agricultural science
laboratories.
Esu (1991) examined the current status of in-service tcacher education in Nigeria.
He indicates ihree approaches: The ccntral office approach: the long vacation
programme; and the Associateship Cerlificate in Education distance learning approach.
I-Ie made same recomn~enda~ions for planning and irnple~ncnting in-scrvice teacher
education programmes in Nigeria. In agreement with the long vacation approach Ormu
( I 985) sought to determine, among other things, the most preferred types/ formats of in-
service education programme for tcachers of technicat education. His study reveals that
5 1
teachers prcfer to receive in-service training during long vacation period as to minimize
the dismpticsn of their daily teaching duties.
Sntnt studies on in-service needs cited earlier in this review such as Anyakoha
(1982) and Akvbue (1981) based their nced indicators on conipetencies in which the
respondents fnund themselves deficient and so need retraining in an in-service education
progtanlme, The studies also seck to idcntify thc competencies where the tcachers find
themselves not performing and so need retraining. 'Tlius the study has inlpkation for in-
service education for music teachers,
2(r) Studies on the Human Voice
The Arlolwent Voice
Adolescence is characterised by a distinctive phase of vocal development which
bridges childhood and adulthood. Longitudinal research studies, e.g. [Cooksey , 1977a,
1977b, 1977c, 1977d and Wolverton (1985)] for example, indicate that there are
distinctive features to each stage of the adolescent voice change and that with an
apprupriate matching of repertoire, it is possible for all young people to continue to sing
successfully throughout this period (Cooksey and Welch, 1998).
Findings from the above studies revealed the following definable voice change
stages in the development scheme of the adolescent voice change as presented by
Ccloksey and Welch (1998), see figure 3 below:
Pre Stage I - Unchanged
Stage I - Mid voice I (Early beginning of change)
S t a ~ e 11 Mid voice 11 (Middle of change)
Stage 111 - Mid voice IIA (Climax of change)
Stage IV - New voice (Tapering period)
S t a g V - Emerging Adult (Expansion and developnicnt period).
Fig. 3 - Staigfs OF Adolescent Male Changing Voice Development.
These developments take place most often between the ages of 12 - I 3 years, but
can occur much sooner and last frorn scveral months to more than a year. The emerging
adult is beginning among 14 - 15 years old and reptsents the begiruing of the road to
vocal maturity (Cooksey and Welch, 1998).
Figure 4 below shows the mean ranges and tessiture (most cornforrable sirrgirrg pitch range) for the voice chan~e stages rnentioncd above.
Fig- 4 - Mean ranges and tessiture for the voice c h a ~ ~ g e stages. Bracketed notes represent the voice tessitura pitch boundaries.
Source - Cooksey and Welch (1998).
In the mid voice II stage: lower pitches appear and the higher ones gradually
k m m c mnre unstable. Voice quality in the mid voice II stage is distinctive, thicker and
darker in colour and Iess resonant. For most males, this stage lasts about 12 - 13 months
and begins most often at approxi~nately 13 years of agc.
Stage: 111: Mid voice IIA - Voicc-changcs rcaches a 'high point'. This stage is
considewbly wlnetable to vocal abuse. There are few vocal parts published in choral and
song literature which fit the range of this unique stage. The qualily of tone is often husky
and sometimes quite breathy. Healthy training coupIed with good voice production during
this stage has a powerfully beneficial impact. Mid voice IIA is a pivotal slage, Iasting
from two to ten month, and beginning some time between the ages of 13 - 14 years.
S t q e IV - New voice, represents the beginning of more stability in the growth
process. Along with steady increases in height and weight, the vacal pitch range
stabilizes and voice quality becomes clcarer whilst remaining Iighr and somewhat thin.
The new voice sound which commences at approximately about 14 years of age and
lasting one to three months does not yet approximate adult-likc quality. Cooksey however
found exception to this in his London study of 1992 - 1994, that a number of boys
reached this stage by the age of 13 years.
The ihportance of the above findings reIating ro the successfuI management of
thc adolescents' voice (male and femaIe) cannot be overemphasised. In summary, voice
change in ad~ lc swnt males is a pr-cdictable and sequential phenomena with singing range
being the most valid indicator of' voice cbangc. 'These uniquc aspects of thc changing
male voice have an implicalion for the music teachers in the secondary schools.
Abulcscent male voices cannot experience success in singing activities if their changing
vocal limitations are ~ w t taken into account. Adolescent boys experience irregular growth
rates in the vwal mechanism which can make their voices unpredictable and difficult to
carttrd, espdiatly if forced inro the wrong pitch range (Cooksey and Welch, 1998).
Z(F) Studtm on Qualification
The need for good qualification for the music leachcr has bcerl emplmised by
Morgan (1953); Abeles (1984) and Ekwucnle (1987) to mention a few. Qualified music
teachem must possess classroom tcaching abilities, musicianship and educational
preparation, Morgan (1953). For one to become a professional educator, Abeles (1984)
pointed out, it entails among other things an accumulatior~ of a body nf knowledge. The
56
prnfessional qua1ification and students academic performance. Nnabuo (1988) and
Gilfwpie (1991) shtdies revealed no significant relationship between teachers skill and
student competencies.
Positive correlations exist in the fimlings of Ejiofor f 1990) and Gwanyama (1992).
E-iiofor's study was to find thc link between the educational level of a counsellor to the
wrtbiness of a client to cornmunicatc. She found that the studcnts prefer counsellors with
hlghcr degrees to the first degree counsellors. The need for professional qualification
cannot be overemphasistd. This is portrayed in Gwanyama (1992) study which aimed
specificalIy to assess in a valid and reliable way the relative teaching effectiveness of
both rnalhcmatics teacher with a professional background and mathematics teacher
without a professional background. he found That mathenlatics teachers with professio~ial
background are more effective in teaching mathematics rhan mathematics teachers with
no professional background.
SUMlMARY OF TIW, LITERATURE W T E W
The review of literature has rcvealed that problems facing educators in general
and thc music' teachers in particular are not limited to Nigeria ohe. l 'he problenx cxist
in other developed countries as cited by K1otma.n and Andrews (1972); FMEA (1981);
tVells (1987); Fisher (1991), for example. Literature also revealed the strategies used to
solve these music cducatim problems. These efforts provided guidelines, focus and
inspiration to carry out the present study motivated by the observation of such identical
prnbIerns with music education in Nigeria.
The implication of the need theory to the classroom teacher and the music
accumulation of such knowledge in most cases involves a lengthy continuous study which
usually culminates in a degree or certificates. In agreement with the above idea,
Ekwueme (1987) stressed that a music teacher, in a schao1, shouid possess, at teast, a
music diploma lasting from one year to at most three years with some minimum
proficiency in two instruments, one of which must bc the keyboard. Such a teacher, he
added, should have received some pedagogical training.
Some studies (~gw& 1976; Iroakasi, 1990; Nnabuo, 1988; Ejiofor, 1990;
GiIIespie, 1991; Gwanyama, 1992) have revealed various results linking teacher
quali ficatiun with students' altitude, interests and performance. Ogwe (1976) study
revealed that the quaiity of staff affects students' enrolment in the West African School
Certificate Geography. Assessing the qualifications of the Geography tcachers in the
schnols, he found that there was a high positive correlation berwecn staff and student
enrolment. Iroakasi (1990) study conduded that entry qualification is a significant factor
in candidates' performance in Teachers' Grade I1 Certificares lkaminafions in English,
Mathematics and Education. Testing whether qualification could be used as a predictor
of teacher effectiveness, Nnabuo (1988) study revealed no significant difference between
57
cducator in particular lies in the appropriate invoirerneni of the students' needs and
interests in curriculum planning. The competency-based approach to the development of
curriculum is also advocated, as a good system of attaining professional improvenlent.
This approach helps a researcher to identify job-relaled competencies when thcy are
pcrfosrned. Many rescarchcrs and wrikrs liavc crnphasised in-service education as a
means of achieving the continued professional growth of teachers, edl~lariona1
administrators and supervisors. Research studies on teaching effectiveness have been
focused on the teacher factor, e.g. AIi and Akubue (1990); Iiudgins and Henry (19'92);
Fisher (1991), for example with implications for the teacher-preparation programmes.
Thc researchers have agreed that through idcntifying the 'deficiency needs' (competency-
needs) of the serving teachers, an in-service education could be organised for the purpose
of retraining and updating the teachers' knowledge. The constant improvement of the
teacher factor also contributes to the irnprove~rmt of curricuIum and teaching.
Vaice change in adolescent nlales is a predictable and sequential phenomena with
singing range being the most valid indicator of change. According to Cooksey and Welch
1998), adalescent male voices cannot experience success in singing activities if their
changing vocal: firnitations are not taken into account. In addition to providing theoretical
framework for the present study. these reviews haw also helped to provide specific
pedagogjcal .suggestions, models and processes to solve particular problems posed for the
study. The reviews have helped to guide the inquiry and contributed in suggesting
58
techniques for i~lvestigating such questions, Much work Ilas becn done on competency
in various disciptims, Ihis pr-cseni study ;itternpts lo identifj coinpclencies needed
specifically for- the improvernerrt of Ihc nu sic tcachrng arltl 1m-ning prtlblerns of musrc
teachers in Enugu Srak secondary schools.
CHAPTER THREE
RESEARCH METHODOLOGY
IR this chapter, the researcher presented and discussed the methods used in
carrying out the study. The chapter is organised into the followir~g sections: Research
Design, Area of the Study, Population of the Study, Instrument, Administration of the
Instrument and the Method of Data Analysis.
Research ]Design
This is a survey research designed to enable the researcher identify the
cornpe~encim considered important for effective teaching of secondary school music, as
we11 as the levd of perfomlance, by teachers, on thc identified important competencies.
A survey is a descriptive design which samples the views, opinions, for example, of a
part or all the population and describes the findings (Ali and Denga, 1985). me survey
research design was used and c~mirlercd appropriate because the researcher was
interested only in identifying the competencies and the teachers' performance levels on
them. The survey research design has been successfulIy used in studies similar to the
present one in Delphi, Nigeria, North fist England a d Alberta, to mention a few.
Area of the Study
This study was carried out in Enugu State secondary schools, Enugu. Enugu Stale
is one of Nigiria's 36 states. It is locatd in the south&st central part of Nigeria. There
are two mucation Zones, namely, Enugu Eclucation Zone and Nsukka Education Zone.
The smdy was carried out in these two Education Zones.
Population of the Study
The popuIation of the study comprised all the quatified music teachers teaching
music in Enugu State secondary schools as at 1998. A teacher was corlsidered qualified
if be had one or more of the following certificates:
Diploma in Music Education
National Certificate in Education (NCE) (Music)
B.A./B.Ed. (Music)
M.A./M.Ed. (Music), and
Ph. D. (MusiclMusic Eclucation).
Data on music teachen in secondary schools in Enugu State show4 that there are 41
qualified music teachen (as at 1998) teaching music in the secondary schools (see
Appendix 0. The information also reveated that there are 252 secondary schools. Out
nf these, ody 33 secondary xhmTs offer music in the curriculum. The subjects of this
study were the entire 41 qualified secondary scIlooI teachers currently teaching music in
Enugu State secondary schools. Qf these, 9 are first degree holders @.Ed.) in Music,
whiIe 32 hold NCEIDiploma (Musk) certificates.
Instrment
The instrument used in collecting the data of this study was the Inventory of
Competencies for Effective Teaching of Music (ICETM). This i~istrument was dcvcloped
61
by the researcher for identifying the important competencies needed for teaching
secondary school music, effectively, as well as teachers' levels of perfornlance on the
competencies. Its contents especiaIly in terns of the competencies generated for teachers
to rate, were developed from several sources, including .the junior and senior secondary
school music curriculum and information from the music teacher educators in
Universities and Colleges of Education.
The instrument (Appendix A) consisted of three sections. Section A dealt with an
introduction as well as rhe purpose for which the instrument was sent ro the teachers for
compIetion and also an instruction on how to fiIl the entire inventory. Section B dealt
with persona1 data form to elicit infarmation of personal nature from the nus sic teacher
respondents. Section C deaIt with the 1 15 competency items organised into three broad
rnusjcal arcas, in categories, namely:
Category A - Functinnal Keyboard Activities
Category I3 - VocaI Activities
Category C - ProtessionaI ~uca t ion/Music Education Activities.
category was or~anised into clusters. Altogether there were 20 clusters.
bch of the 115 items was, according to the instruction, ratcd on the basis of the
respondents' perceived IeveI of importance of the items and hidher perceived IevcI of
performance on them, using a five-point likert-type scale as follows:
(i) Competency is of very high importance
or performance lcvcl - -
Competency is slightly abovc ave rqe
importance or performance Ievel =
Competency is of average importance
or performance IeveI - -
Competency is slightly below average
importance or performance level =
Competency is ~f no Impclrhnce
or performance tevel
Validatinn of the Inatrumant
The initial draft of the instrument contained 120 items. This was face-validated
by three lecturers in Music Education at the then Anambra State University of
Technology, Enugu, two exwrts in the Department of Education and three in the
Department of Music, Univcrsily of Nigeria, Nsukkn. 'The appropriateness and adequacy
of the competencies as those needed [or cffeetive teaching of music were checked by the
validators. The items were also vetted for darity, suitability and relevance. For example,
competency item number (1) which was origirlally "Read short and open keyboard music
at sight", was recast as "Read music in piano keyboard score at sight", for clarity.
"Scored-read proficientIyW was recast as "Read a score proficiently". The suggestions
made werr incorporated in rhe ,second draft of the instrument now reduced to 115. There
63
were no other additions to the competencies as requested at the end of each category.
Reliability of the Instrument
The second shgc of validating thc instmmerlt was through field trial. The field
triaI involved administering the face-validated instrument on ten secondary school music
teachers in Orlu Education Zone of Imo State (see Appendix F). Thcir responses were
scored and analyzed for the coefficient of inlernal consistency using Cronbach Alpha.
This is a generaIiscd formuIa which deals with tests with multipIe scored items. The
procedure is to find the variance of all individual scores for each item and then to add
variances across all items (Madubuko, 1990) (see Appendix G for the fnrmuIa).
Thc ~I iab i l i ty indices for the clusters ranged from (0.67 - 0.91) on importance
IevcI and (0.63 - 0.89) on performance level (Appendix H). The cluster values showed
an indication that the instrument was of hjgh internal consistency. Consequently, the
instrument was considered reliable for gathering the data used in addressing rhc problem
of this study.
Administration of the Instrument
The instrument was personalfy d is kbured to all the music teacher respondents
by the researcher and her assistants. Upon being completed, the researcher went and
retrieved them. Forty out of the forty-one music teachers responded to the questionnaire.
The teacher who did not respond is not an Enugu State indigene and had left for her State
of origin before the adminisiralion of the instrument. Thus 97.6% of the total population
used for the study responded to the instrument.
Methad oF Data Analysis
Dala cnllected were nrganised around the rescarch questivns and the hypotheses.
The mean was used as the rnnin descriptive statistics to determine the importance of each
cnmpetency. It was also uscd to dcterinine Ihe performance of the respondcnts on each
competency.
Based on the five-point tkcn scale 5 , 4 , 3 , 2, I , a mean of 3 .SO is the upper limit
of 3 with an interval of 0.5. The upper real limit of the number assigned to the average
importance (3) option is 3.49. Therefore any competency that received a mean score of
3.50 and above was considered important. Where the mean score fell below 3.50, the
c~nlpetency was considered not important. This rule guided the decisions taken in
determining the important and unin~wrtant competencies in Research Question I .
In answering Research Question 2, any competency which attracted a mean rating
of 3.50 and above on 'performance level' was deemed to have been possessed by the
rcspondcnts. A mcnn rating behw 350 on 'performmx level' was dcenlcd not to hnvc
heen possessed but needed by the respondents.
In each case, the mean scores for each competency item were computed separately
with respect to the groups represented in the total population. For exanlple, the group
mean scores (NCYDegree) indicate how each of the groups reprcsented in the population
ntmj the item in relation to the issue under consideration.
t-test
65
The t-test at 0.05 level OF signif'icance was used to test hypotheses one and two.
The mean ratings of each of the clusters of the music by the NCE and Graduate music
teachers were subjected to a tcst of no significant difference at 0.05 Ievel of significance.
The data arising from this study were praxessed w i h the aid of Statistical Package of
Social Sciences (SPSS) provided by the Computer Services Unit of the University of
Nigeria, Nsukka.
CHAIWTR FOUR
PWSENTATION AND ANALYSIS OF DATA
The results and anaIyses of data coIlected are presentcd in this chapter. They are
based on the research questions and hypotheses formulatcd for the study.
Research Question 1
What are the competencies nceded for effective teaching of music in the areas of
(a) Functional Keyboard Activities, (b) VocaI hclivities, and (c) Professional
EducatindMusic Education, in secondary schoois in Enugu Stare'?
To answer this rcsearch question Ithe forty music teachers were asked to indicate
the leveI of importance which they accord to each of the competencies in Functional
Keyboard Activities, Vocal Activities and professional EducatiordMusic Education. T k
mean and standard deviation of the ratings provided by the respondents were computed
for each of the musical areas, The competencies were organised serially in the three
broad musical areas:
Keyboard Activitics (1 - 28)
Vncal Activities (29 - 871, and
ProfessianaI/Musie Education (88 - 115).
The results obtained are presented in Table 3.
Mean Scows h r the teacl~crs' responses on cnmpctencics needwl fur
Read music in piano keybard
at sieht
JLem
harmonic praogr ession ar the
Competencies
N = 40
same lime
hh in t a in steady renlpo while
- X
sieht-reading
I SD REMARK
Apply rhy thrnic notations
correctly
Play piano music of any
standard with cmfidcnse
Item
6
7
8 ,
9
10
1 1
- X-
3.73
3.73
3.33
3.87
3.63
3.65
Competencies
Denmnstrate musicaF examples
on the keyboard
Improvise accompaniments to
instrunlentdist or solo singers,
given a melody line
Transpse during
congregational singing
Acquire knowledge of simple
chord progression
Write simple piano
accompaniments
Self-composed and confident
whiIe accompanying in music
SD
1.24
1.24
1 .05
1.22
1 .25
1 .07
REMARK
Important
Important
Not Important
Importa~it
Important
Iniporta~it
Competencies Item
12
13
14
I
Apply basic theory and
I
Freely interprets piano music
15
16
17
18
19
Appreciate contemporary and
old style of keyboard music
Encourage students to enjoy
piano music
Care for and maintain the
piano
Detest key buard music
Listen to piano music with
focusdattention.
Encourage pupil partkipa tion
in keyboard music ac~ivities
- I I SD / REMARK
3 -97 1.03 Important
3.55 1.04 Important
G j j - 1.22 Important
2.95 1 1 3 8 1 Not Important
2.38 1.48 Not Important
2.20 1.36 Not Important
Item
20
2 1
22
23
24
25
26
Competencies
-
Encourage the study and
practice of piano nlusic
Possess good musical ears
Detect when a piano is in tune
or out of tune
Tune and repair the piano
- - - -
use of various piano
literature 2 0 enhance piano
pIaying lessons
Demonstrate the skills of
various techniques of piano
playing
Play African musk rhythm on
the keyboard
REMARK
Not Important
Important
Important
Not Irnportar~t
Important
Important
Not I rnportant
Vocai Activitin
Sing. a part in a vocal score of 3.73
-#
Soprano, AIto, Tenor, Bass
- -X
2.28
3.3G
with cnnfrdermce
Illustrate musical example 3.98
Item
27
2 8
using the voice
Cornpctencin
Play orchestral reduction
Usage of c clcf or rigurcd bass
I SD '
1.32
1.38
Sing from solia to sMff and 1 4.33
mMARK
Not Important
NatImportant
vice versa
Develop high singing ability in
pupils
----+F Interpret vocal music freely
Important
Important
Important
-- --
Important
Important
Competencies
I
AppIy correct time signature
when sight-singing
Item
3 4
35
- 36
3 7
38
39
- - - - -
Arrange the voices according
to qualities [Soprano, Alto,
Tenor, Bass]
Improve the weaker voices to
high level of performance
Test voices frequently and
individuaIly for proper
classification
Assign voices for proper blend
and balance
Attend to positions of chest . breagth and confrol over breath
Important
Important
Important
Important
Important
the purpose of suggesting
remedies
Detect nasaI obstruction with
Develop vocal and nasaI 1 3.78
3.65
ren~edies i n pupils I
Acquire good know1dge of the
respiratory system
Demonstrate good breath using
vocal exercises
Knowledge of rulcs for hreath
control
3.85
Develop .and improve the aural
1 .OO Important
I
I .08 Important
imaginations of pupils
1. I0 Important
0.95 Important
1.03 Important
Competencies -% SD REMARK
Use nledium register as a point 3.35 1.12 Not Important
of departure at the onset of I I I change in boys' voices I I I Use appropriate pa* songs for 3 .GO 1.24 Important
the vocal compass
- - - - -
Transpose tunes to suit the
compass of pupils voices
Write voice training exercise in 3.95 1.00 Important
various ways
Sequence voice training 3.75 1.03 Important
exercise for easy attainrncnl
AppIy wards to vowels and 2.75 1.16 Not Important
diphthong used in training
exercises
Competencies
Read a score proficiently
Co~uc tacho i rwl~ i l e r - ead ing
a score
Arrange! pieces for proper ( 1.50 1 1.13 1 Important
Draw a nxntal picture of any
given choral piece
- -X-
3 -95
3.90
3.93
blend of voice and orchestra
DispIay general musicianship
SD
1.11
1.0 1
Possess good human relations
Structure and sequence
necessary IL
REMARK
Important
- Important
1 .OO
3.98
rehearsals properly I
Take appropriate decision to 4.15
stop and rehearse when
Inlportant
4.32
4. 18
1.10
1.03
I~nportant
0.94
0.93
Important
Important
Important
Competencies
Identify iinportant structures
e .g . form, phrase, 1nodnlations
Identify the harmonic structure,
whether plyphonic or
homophonic
Analyze and synthesize all
parts of the piece
Classify vocal pieces
accordingly for easy
accornpIis hment
AuraT imagination of vocal
Communicate in different
REMARK
important
Important
I .25 Important
Competencies
Identify songs from various
creatures
Plan singing lessons from
various types of song Iiterature
Compare works of composers
from different periods for
purposes of identification
Use sanss adequatdy to suit
varying siluations
Use spccific funtlamentnt
rhythms as basic means of
n10 vemenl
I)ereIop in pupils abiIity t o
sing songs with rhythmic
precision
0.96 Important r 0.83
1.01
Important
Important
Competencies
Develop muscular, vocal co-
ordination and control
Write music shorthand for
transcription to vocal music
Combine rhythm, drama and
movement in a vocal lesson
Encourage intelligent arrd
purposeful listening to vocal
nu sic
- --
Discriminale between good and
r
I
I
bad quality voice production
REMARK Itcn1
72
7 3
-- 74
75
76
77
78
-
Not Important
Not Important -
--
Assist pupils to acquire or
Important
form musical tastc
Participate in choral activities
Important
-
-
Important 4.13
Important
0.99
- -
Competencies
Encourage pupils to enjoy
vmal music
Encourage satisfactory reasons
to responses to musical stimuli
Train pupils ta focus Iistenirlg
on elements of structure,
tempo. for example
Write simple, short repetitive
songs ro be Icarnt by note
-- -
Arrange short pieccs for voicc
and orchestra
Choose song texts associated
with concrctc objects
important
Important
Not Important
Important
Important
Important
Write simple rhpn~es using
simple melodic rnoverncnts
Devise some voca1 music
reading techniques for
heginners
1
I '
1 .
Encourage creative vocal music
making
Item
85
86
87
Professinnal Education1 Music Education
Breakdown of music coursc
into scheme of work
Divide scheme of work into
units and into daily lesson
topics
REMARK
Important
Important
Important
Important
Important
Competencies
Identify specific behavionra1 4.25 0.98
objectives for a lcsson
Consider needs and interests of 4.47 0.82
students during the planning of
music activities
Select appropriate teaching 4.47 0.91
methods for a Iesson
- Consider the previous 4.45 0.85
experience of students when
planning a lesson
Develop teacher-made
Important
important
Important
Important
Competencies ..
- --
Involve students in the
Item
95
96
97
98
99
preparation o f instructional
materials
Keep im,~tructional materials
neat and safe
Use audio visual aids in music
effectively e.g. radios, records,
cassettes
Present information with the
aid of a flannel board
Provide for Individual
difference in students
REMARK
Important
Important
Important
Not Importarit
Important
Item
-- 100
101
L
Competencies
Show knowledge of physical
and nlentaI develop~rient of
students in the secondary
schooIs
Cater especially for the need of
the handicapped students in thc
class
Counsel to improve individual
pupil's achievement in music
Maintain a wo~kablc
relationship with his students
Provide a classroom
atmosphere where a variety of
individual differences can be
accommodated
REMARK
Important
Important
Important
Important
Competencies
Maintain an orderIy
atmosphere in class
Conk01 discipline problems to
protect the learning exprience
of the students
- -
Apply appropriate correcrive
measures to indiscipline
behaviours of students
Use students' g d behaviour
to encourage them
Formulate a system of grading
in music consistent with the
school policy
REMARK
Important
Important
Important
Important
Important
Competencies
Appraise student performance
in relation to stated behavioura1
objectives
Use a variety of evaluation
device, and procedures, e.g.
tcsts, assignnlents and projects
Develop self-cvalualion
techniques for stu&~lts to
evafuate their own progress
- - - - - - -
Involve students in formulating
procedures for scl f-cxarnination
Develop and use various types
of validated resl in music e.g.
matching, true-false
completion, etc
REMARK
Important
Important
Important
Important
Table 3 presents the result of the music teachers' rating of the competencies
needed for effective teaching of music in the areas of (a) Functional Keyboard Activity,
(h) Vocal Activities, and (c) Professional EducatiodMusic Education. Each of the
competencies considered important had a mean rating above 3.5 cut off point w hiIe those
deemed not important had a mean score of 3.49 and below.
In the functional Keyboard Activities, eighteen cornpe tencics were considered
important while ten were rated not important, whiIe in the Vocal Activities, fifty-five
competencies werc ratcd "importnnl" and four "uot important". All the conq-xtencics in
the Professional MucationMusic Education arca were considered important with only
one ex~ept ion~present information with the aid of a flannel board (item 98).
Thus Table 3 revealed that altogether, one hundred cornpetenc ies were considered
important for effective teaching of music in the secondary schools in the Functional
Key board, Vocal Activities and Prdcssional EducatiodMusic Education Areas. Fifteen
cornperencies were rated "not important".
z
4.05
Cornpetcncies
Use test rcsults to improve
teaching and learning
- Item
115
SD
0.97
REMARK
Important
Competencies I X
L
l tem
2
3
4
5
7
Sight-read melody and
harmonic progression at the
same time
Apply rhythmic notations
correctIy
3.30
Maintain steady tempo while
sight-reading
3.18
SD 1 REMARK
Play piano music of any
standard with confidence
Dernonstratc ~nusicnl cxa~nplcs
on the keyboard
Improvise accompaniments to
inst rumentaIist Or so10 singers,
given a rneIody Iine
0.97 Needed -r-
3.02
3.18
3.18
0.93 I Needed
0.82 1 Needed
1.32 Needed
1.08 Needed
Research Questinn 2
What level of the co~npelencies in the areas of'(a) 1;unctional Key board Activities.
( b j Vocai Acrivirits, artd (c) ProFessional EducatiorlIh4usic Education arc possesses and
Answers to this rescarcll qucstion \were ohlairled by asking rhe music teaclws Io
indicate their acrual perforrriance abililies in cncli of tIic cornpctencies in ~ R c three broad
musical areas. The man and srandard deviation o f thc ratings provided by tlic
respondents were computed for each conlpetency itern. Data for a~lswering this research
question are presen[~d in Table 4.
Ta tlle 4: Mean ,%errs for the teachers' responses ou tfic c~mpctencies posserscd and nclcded by the Tei~cher-responde~its.
[[ern Cornpetcncies
N = 40
Keyboard Aaivifics
R F M A K K X SD
1 1 Read music in piano keyboard 3.20 0.04 Needed
Competencies
1
Transpose during
congregational singing
b
Write simple piano
accompaniments
Item
8
10
- 11
12
13
14
-
Acquire knowledge of simple
chord progression
3. I2
Apply basic theory and
rudirner~ts
Self-compasd and confident
w M e accotnpanying in music
3.23
Appreciate contemporary and
old styIe of keyboard music
Freely interprets piano music
Needed
2.88
Needed
Needed
Needed
Needed
Needed
Needed
REMARK
Encourage students to enjoy
piano music
Possessed
-
Care for and maintain the
piano
Detest keyboard music Needed
Listen to piano music with \
,, I< focuseSjattention
Needed
Encourage pupi! participation Needed
in keyboard music activities
Needed Encourage the study and
practice of piano music
P~ssess good musical ears Needed
Detect when a viano is in tune Needed
or out of tune
Competencies
Tune and repair the piano
Make usc or various piano
literature to enhance piano
pIay ing lessons
Demonstrate the skills of
varinus techniques of piano
playing
Play African music rhythm on
the keyboard
Play orclcstral reduction
Usage of c clef or figured bass
REMARK
Needed
Needed
- - -
Needed
Needed
Vocal Activities
Competencies
Sing ;a part in a vocal %ore of
Soprano, Alto, Tenor, D m
with confidence
Illustrate rnusicaI example
using the voice
- - - .
Sing from solfa to s&ff and
vicc versa
DeveIop high singing ability in
pupils
Apply correct time signature
when sight sineinp,
REMARK
Needed
Needed
Possessed
Needed
Arrange the voices according
to quaIities [Soprano, AIto,
Tenor, BclssJ
Improve the weaker voices to
high Ievel of performance
Test voices frequently and
individually for proper
classification
Assign voices for proper blend
and balance
Attend to positions of chcst
breadth and control over breath
Detect nasal obstruction with
the purpose of suggesting
remedies
REMARK
Possessed
Needed
Needed
Needed
Needed
Needed
I ~ e m Competencies
I l 4 ~ I Develop v0c.d and nasal
I1 I remedies in pupils
42 Demonstrate good breath using
vocal exercises
Acquire good krmwkdge of the t q d II ( respiratory system
I1 44 1 Knowledge of rules for breath
Develop and improve thc aural 1 II I imaginations of pupils
46 Use medium regisles as a point
of departure a1 thc onset of
change in boys' voices
- X SD REMARK
3.33 I .05 Needed
2.13 1.27 Needed
-1 Use appropriate past songs for
the vocal compass
Transpose lunes to suit the
compass of pupils voices
Write voice training cxercise in
various ways
Sequence voice training
exercise for easy attainment
Apply words to vowels aid
diphthong used in training
exercises
Read a score praficierrtTy
Conduct a choir while reading
a score
REMARK
Needed
Needed
Needed
Needed
Needed
Needed
Needed
Draw a mental piclure o f any
given cf~oral picce
Arrange pieces for proper
b I e d of voice a d orchestra
Display general nlusiciansfiip
Possess good human relations
Structure and sequence
~hearsals proper1 y
Take appropriate decisiorx to
stop and rclicarsi- when
necessary
IdcntiQ important structures
c.g. form, phrase, modulations
REMARK
Needcd
Needed
Needed
Needed
Competencies
Identify the harrmnic structure,
whether poIypRorlic or
homophonic
Analyze and synthesize all
parts of the piece .- - -
Classify vocal pieces
accordingly for easy
accomplishment
Aural imagination of vocal
scores in sections
Con~municate in different
languages
Tdentify songs from various
(cuJ tu res)
SD / REMARK
1.00 Needed
0.93 Needed 7-
1 .OI Needed
Item
67
6 8
6 9
70
7 1
72
Competencies
Plan singing lessons from
various lypm of' song literafurc
Compare works of composers
from different periods for
purposes of identification
Use songs adequately to suit
varying siluations
Use specific fundamental
rhychrns as basic means of
movement
DeveIop in pupils ability to
sing songs with rhythmic
precision
DeveIap muscular, vocal co-
ordination and control
REMARK
Needed
Needed
Needed
Needed
Needed
Needed
Competencies I
Write music shorlharld for
Item
73
74
75
76
77
78
79
transcription to v t m l music
Combine rhythm, drama and
movement in a vocal lesson
Encourage intelligent and
pu~paseful Iistening to vocal
music
Discriminate between good and
bad quality voice production
form nlusical taste
Parkipate in choral activities
Encourage pupils to enjoy
vocal music
Needed
Needed
Needed
Possessed
Possessed
Needed
Competencies
Encourage satisfactory reasons
to responses to musical stimuli
Train pupils to focus listening
on elements of struclure,
tempo, for exampIe
Write simple, short repetitive
songs lo be learnt by Wote
Arrange short pieces fbr voice
and orchestra
Choose song tcxls associnlcd
with concrete objccts
Write simple rhymes using
simpk metodic nmvements
REMARK
Needed
Needed
Needed
Needed
Necdcd
Needed
Competencies
Devise some vocal music
reading rechniques for
beginners
Needed
Encourage creative vocal music
making
E-lhofc~sional Education/ music Education
Breakdown of music course
into scheme of work
Divide scheme of work into
units and into daily Icsson
topics
Possessed
Identify specific bchavioural
ob.jectives for a lesson
Possessed
Competencies
Consider needs and interests of
students during the planning of
music activities
Select appropriate teaching
rnethads for a lesson
Consider the previous
experience of students when
planning a lesson
DeveIn p teacher-made
materials e.g. charts, models,
Involve students in the
preparation of inslructional
ma teriaIs
REMARK
Possessed
Possessed
Possessed
Needed
Possessed
Competencies
Keep instructional materials
neat and safe
Use audio visual aids in music
effectively e.g. radios, records,
cassettes
Present information with the
aid of a flarmeI board
-
Provide for individual
difference in studcrits
Show knowlcdgc of physical
and mental development of
students in the secondary
schools
REMARK
Possessed
Needed
Competencies
Cater especially for the need of
the handicapped students in the
class
Counsel to improve individual
pwpiI's achievement in music
- - --
Maintain a workable
relationship witti his students
Provide a classruorn
atmosphere where a variety of
individual differences can bc
accorn~nodated
Maintain an orderly
atmosphere in class
REMARK
Needed
Needed
Possessed
Competencies
Control discipline problems to
protcct the learning expecicnce
of the students
Apply appropriate corrective
measures to indiscipline
behaviours of students
Use students' goad behaviour
to encourage them
h rmu la t e a system of grading
in music consistent wilh the
school policy
Apprltise student performance
in relation to stated behavioural
objectives
REMARK
Possessed
Possessed
Possessed
Needed
Needed
Competencies
Use a variety of evaluation
device, and procedures, c. g.
tests, assignmcrlts and projccts
Develop self-evaluation
techniques for students to
evaluate their own progress
Involve students in formulating
procedures for self-examination
Develop and use various types
of validated tests in music e .g .
matching, true-false
corrtpletion, ctc
Use test resuhs to improve
teaching and learning
0.97 1 Needed
1.10 Needed
1.08 Needed
1 07
Table 4 presents the resuIts of the rnusic teachers' indication of their performance
abilities in each of the cornpctencies in thc three broad musical areas (a) FunctionaI
Keyboard Activity, @) Vocal Activities. and (c) Professional J3ueatiodMusic Mucation.
Performance ability rated up to 3 .5 and above was considered as a competency possessed
by the respondents. Any pert'ormance abiIity rated below 3.5 was considerctl not
possessed and therefore needed for improvement purposes.
In the Functional Keyboard area, the music teachert respondents indicated they
possess the ability to cncourage students lo enjoy piano music (itc~n 15) and necd
jrnpmvemenl on a11 the others.
In the VocaI activity area, the teachers indicated they possess the ability to sing
from soIfrt to staff and vice-versa, arrange the voices according to qualities [Soprano,
Alto Tenor, Bass], discriminate hetween good and bad quality voice production,
participate in choral activities and lo cncourage creative vocal music making, and need
in~provcment in the r a t .
In the Prdessional Education arm thc teachers possess competence in thirtcen out
of the twenty-eight competencies in. this area. Altogether, the teacher respondents possess
onIy 19 competemes out of the 100 they rated important and needed improvement on
8 1 cornpc!cncies.
Hypothesis 1
There 1141 k no significant difference in the m a n ~atings of' the level of
1 of3 importance of the competencies for effective teaching of music between the
DipIorna/NCE music teachers and the Graduate music teachers in Enugu State secondary
schools.
To test this hypothesis arid the subsequent one, it was convenient to consider rhc
different clusters in thc tlirce brOi~d rnusical arcas, ix., thc Keyboard, Vocal Activities
and Pr~fessional/Music Education Arcas. The group rnean ratings by the teacher
respondent^ were computed for each competency cluster. The t-test statistics was utilized
to compare the means of the ratings on each competency. The sunlrnaries of the data
used in testing the hypothesis and the resuIts are presented in TabIe 5 .
109
Tnl~te 5: The t-test Analysis of Importance accordctl thc Clusters nt'lthc
COMPETUKY
CLUSTERS
1 Kcyboard Activities
A-I - Sight-reading
musical scores
I on the
key hoard
2 A-11 - Skill i11
accompanying
I of music
COMPETENCY
CLUSTERS
A-In - Attitude
towards
piam music
A-IV - Aural
perception of
tuned and
untuned piano
A-V - KnowIedgc
of key board
repertoire
NCE
N = 26
GRADUATES
N = 14
CALCULAT
ED t-
VALUE
COMPETENCY
CLUSTERS
Vocal Activities
B-I - Sight-singing
from a vocal
score
I3-I1 - Classifying
VQ ices
R-I11 - Developing
breath
control
B-IV - Training the
adolescent
voice
NCE GRADUATES CALCULAT
ED t-
VALUE
COMPETENCY
CLUSTERS NCE
N = 26
GRADUATES CALC ULAT
ED t-
VALUE
B-V - Conductirig
cfio irs
B-VI - Analysing
vocal Iscorcs
I3-VII - Knowledge
of song
repertoire
B-VIII-Interpreting
vocal music
though
rhythmic
movement
CALCULAT
ED t-
VALUE
*-2.04
COMPETENCY
CLUSTERS
C-I1 - Developing
instructional
1natcria1s
C-111 - Interest in
works and
pupik
C-IV - Discipline/
C-V - Evaluating
performances
of students
NCE GKADUATES CALCULAT
ED t-
VALUE
Note: * = Significant at P = 0.05 (df: 381, Critical value t-vaIue = 2.02,
115
As shown in Table 5, there was no significant difference in the respondents'
rating of competency dusters in the Keyboard area. Results of the test of the nu11
hypothesis indicate that none of the caiculated t-valucs excecded the critical value of
2.02. 'The 111.111 hypothesis of no significant difference betwcen the responses of the NCE
and thc Graduatc music tcachcrs is uplield to that effect. 111 the Vocal Activity area,
significant difference existed in classifying voices, training the adolescent voice,
interpreting vocal music through rhythmic movement. In the Professional
EducalionlMusic Education, significant differences existed in discipline and r~lanagenient .
In each of these clusters, the calculated t-value is greater than the table t-value. hence the
null hyputhcsis was rejected in each. Thus the resuit of the test of tile null hypdhesis in
Table 5 indicate that aItogethcr there was no significant difference in the mcan ratings
of the clusters of the music cornpetcnclcs by the graduates and NCE music teachers on
the "importance lcvcl" in sixteen out of the lwenly clusters of lhe nlusic competencies.
In tact1 of time clusrets thc tablc t-value is grcater than rhe caIcu1ated t -va lw Hence the
hypothesis was acceptd.
Hypl t ia i s 2
There will be no significant dirkfence in tho mmn ratings of rhe level of
perfomance of the competencies for effective teaching of music between the NCE and
Graduate music teachers in Enugu State secondary schools.
To test this hypothesis, the group mean ratings provided by the NCE and
116
Graduate music ~eachcrs indicating t k i r pc~Torrnancc abililicc in uach of [hc clustcrs o f
competencies were computed. The two-tailed 1-rcsl was used to compare the mean
responses of the two groups. The I-CSLI~IS of rhc t a r s arc prcsentcti ill 'Tat~lc 6.
Tahle 6: The t-test Analysis of M P ~ Ratings OF ihc Clustcrs of tlie Music Compekrtcies on tlic Performance Level in the Fttnctio~ial Kcyhoarcl, Vocal Aciivities and I'mfessioi1aIlh4r1sic Kducntion
SINO. COMPETENCY
1 Key board
Activities
A-1 - Sight-
reading
nlusical scorcs
on the
key board
COMPETENCY
CLUSTERS N = 26
A41 - Skill in
of music
A-111 - Attitude -k towards I
piano music
A-IV - Aunl 1 2-87
tuned aud I
of keyboard
GRADUATES
N = 14 CALCULATED t-
VALUE
COMPETENCY
CLUSTERS GRADUATES
N = 14 CALCULATED L-
VALUE
Vacirl Activities
B-I - Sighl-singing
from a vocal
score
0-11 - Classifying
voiccs
B-111 - Developing
brcath
conlrol
13-IV - Training the
voice
B-V - Conducting
choirs
COMPETENCY
CLUSTERS
3-VZ - Analysing
vocal scorcs
EI-VII - Kriowleilgc
o l song
rcperrnire
B-VIII-Interpreting
vocai music
rhrough
rliythmic
nlOVCtlK71L
@-IS- Approcinting
ruu l music
U-X - Wifing
sirnplc vocal
nus sic
GRADUATES
N = 24 CALCJIJLATED t-
V A L U E
COMPETENCY
CLUSTERS
IJrolcssional
Educa~ionlhlusic
Education
C-I - Planninlr, a
music lesson
C-111 - Inlcrcsl i n
works and
pupils
C-IV - Discipline1
Management
GRADUATES
b! = 14 CALCULATED t-
VALUE
Note: * = Significant at P 5 0.05 (df: 38) critical t-value = 2.02.
The result of the test of Hypothesis 2 I-evealed the existence of significant
differences in Lhc performance abilities of the NCE and Graduate inusic teachers in sigbt-
singing from a vocal score (t = -2.081, classifying voices (t = -2.051, training the
adolescent voice (t = -2.331, arid interpreting vocat music through rhythmic movement
(t = -2.09). 'Tile null hypolhesis of MI significant difference in the Ievel of performance
nf the NCE and Gradua~e music teacllcrs is thcrefore rejected with respect to the above-
mentioned competencies. For a11 the other competencies in which the calculated t-value
did not exceed 2.02, the null hypothesis is upheld, (Table 6).
COMPETENCY
CLUSTERS
C-V - Evaluar i~t~
performances
of sludcrlrs
CALCULATED r-
VALUE
*-2.04
NCElDIPLOMA
N = 26
- X-
3.16
GRADUATES
N = 14
SD
.71
- -X
3.00
SD
.52
FlMSI1VGS
From the data analyzed in 'Tables ( 3 4 , tlx folhwillg findings were made:
1, One hundred competencies were considered important for effective teaching of
music in the secondary schools in the v u d , functional keyboard and Professional
Education/Music Education arcas. Thcy arc list& below in descending order of ratcd
importance:
A Consider needs and intercs~s of students during the planning of music
activities (4.47).
+. Sclcct appropriate teaching nielhods for a lesson (4.47).
* Break down a music course inio scheme of' work (4.45).
+ Consider the previous experience of students when planning a lesson
(4.45).
+ Maintain an orderly atmosphere in class (4.45).
+: Divide schemo of work into units and into daiIy lesson topics (4.40).
5; Provide a classroom atmosphere where a variety of individual difference
can be accommodated (4.35).
.* Sing from soKa to staff notation and vice versa (4.33(.
+ Possess g d human relations (4.32).
+ Apply appropriate corrective measures to indiscipline behaviours of
s tuden ls (4.27).
Apply correct time signarure when sizht-singing (4.25).
Identify specific khavioural objectives for a lesson (4.25).
Arrange thc voices according to qualities (4,22).
Develop teacher-made materials e.g. chart models etc. (4.20)
Gmtrnl dixiplino pr~oblcins to protect t l~c Icarning cxpcrierrces of' the
students (4.20).
Use a varieky of evaluation devices and procedures e.g. tcsts, assignments
and projects (4.20).
Srructun a n d sequence mkarsals ppuperly (4.18).
Maintain a workable relationship with the students (4.18).
Transpose tunes to svit the compass of pupils' voices (4.15).
Take appropriate decisions to stop and rehearse when necessary (4. f 5).
Usc songs adequately to suit varying situstiom (4.15).
Involvc sludcnts in PI-cparation of instructionaf ~nalerials (4.15).
Keep instructionaI materials ncat and safe (4.13).
Forn~uiate a system of grading in music consistent with the schoc~l policy
(4.13).
Partkiparc in ct~mal activities (4.13).
Discriminate between good and bad quality voice production (4.10),
ldentify impartant struclures e .3 . form, phrase modulation (4.10).
Use students' good bchaviour to encourage them (4.10).
Develop high singing ability in pupils (4.10).
Detcct when a piano is in tune or out of tune (4.10).
Usc test rcsults to improve teaching and learning (4.08).
Devclop in pupils Ihc ability to sing songs with rhythmic precision (4.07).
Appraise students' pcrfonnance in rchtion to stated behavioural objectives
(4.07).
Sllow knowledge of physical a d develapments of students in the
seconclaly . ~ h a o l s (4.05).
Improve the weaker voices to high level of pcrfo'orrnance (4.05).
Interpret vocal music freely (4.05).
Encourage creative vocal music making (4.05).
Provide for individual differences in students (4.03).
Counsel to i~nprovc individual pupil's achievement in i nu sic (4.02).
Devise some vocal n~usic reading techniques for beginners (4.00).
Care for and maintain the piano (4.00).
Illustrate musica1 examples usins the voice (3.98).
Test voice frequenrly and individually for proper classification (3.98).
Display general musicianship (3.98).
Apply basic theory and rudiments (3.97).
Assign voices for proper blcnd and balance (3.97).
Identify songs from various cultures (3 -97).
Encourage inteIIigent and purposeful listening to vocal nlusic (3.97).
Read music in piano keyboard at sight (3.95).
Maintain steady tcrqm while sight-nading (3.95).
Write vi~ice training exercises in various ways (3.95).
Read vocal score prcjfkiently (5.95).
Cornpare works df cortiposers from diffcrent periods for purposes of
identification (3.95).
Use specific fundanmta! rhy lhnls as basic means of movement (3.95).
Assist pupils to. acquire or form musical taste (3.95).
Use audio-visual aids in music effectively e.g. radios, records, cassettes
(3.95).
Draw a mwtal piclusc of any given choral piece (3.93).
Conduct a choir while reading a score (3.90).
Irivolve students in ror~nulating procedures for self-examination (3.90).
Encourage pupils to cnjoy vocal music (3.88).
Cater especially for the need of the handicapped students in the class
(3.88).
Acquire knowledge of simple chord progression (3.87).
126
Delmnstrate good breath using vocal exercises (3.85).
Develop self-evaluation techniques for students to evaluate thcir. own
progress (3.85).
Apply rhythmic rwtations correctly (3.83).
Encourage sludcnts to cnjoy piano nus sic (3.83).
Apply words to vowels used in training exerciscs (3.80).
Develop and usc various types of validated tests in music e.g. matching,
true-falsc, completion, ctc.
DcvcIcrp vocal and nasal rernedies in pupils (3.78).
Acquire good knowledge of the respiratory system (3.78).
KnowIedge of rules for breath controI (3.78).
Analyze and synthesise all parts of the piece (3.78).
Develop improve the aural imagination of pupils (3.75).
Sequencc voicc tt-rtit~itlg cxe~uiscs fix casy attainment (3.75).
Demonstrate ~l~usical exampIcs on the keyboard (3.73).
Improvise accompaniment to inslrumentalists or solo singers (3.75).
Demonstrate the skills of various techniques of piano playing (3.73).
Sing a part in a vocal score of Soprano, AIto, Tenor, Bass with
confidence (3.73).
Attend to position of chcst, breath and control over breath (3.73)-
Classify vocal piem accordingIy for easy acco~nplishrnent (3.73).
Wrire s h p k rhymes using simple melodic movements (3.72).
Identify the harmonic structure: polyphonic or homophonic (3.70).
Encourage satis fixtion to responses to musical stimuli (3 -70).
Sight-read melody and harmonic progression at the same time (3.67).
Conlbine rhyttun, d r a m and movement in a vocal lcsson (3.67).
SeIf-composed and co~lfident while accompanying nlusic (3.65).
Detect nasal obslr-uction with the purpose of suggesting remedies (3.65).
Write simple piano accompaniments (3.63).
Communicate in different languages (3.52).
Plan singing Iessorls konl various types of songs literature (3.62).
Write simple, short, repetitive songs to be learnt by rote (3.62).
Use appropriate part songs for the vocal compass (3.60).
Makc use of various piano lilcralurc to e ~ l ~ a n c c piano playing Icssoils
(3,58).
Arrange short pieces far voice and orchestra (3.58).
Aural imagination of vwal scores in sections (3.57).
Play piano music of any standard with confidence (3.55).
Freely interpret piano music (3 .55) .
Choose song texts associated with concrete objects (3.52).
e Arrange pieces for proper blend of voice and orchestra (3.50).
2. I5 co~nptencies were rated as "not important".
They are listed as follows:
* Transpose during congregational singing.
* Apprccialc C O I I ~ C ~ I I ~ O I , ~ N ~ a td old slylc of keyboard music.
+: Detect keyboard music.
... ... Listen to piano music with focused attention.
0 Encourage pupil participation in keyboard music activities.
Q Encourage the study and practice of piano music.
::: Tune and repair the piano.
+ Play African music rhythm 011 the keyboard.
* Play orchestrai reduction.
+. IJsagc of C clef or figured bass.
... .+ Use the ~ncdium I - C ~ ~ S ~ L ' S as ;I point of dcpi~s t~sc at tllc ousct of cllangc in
boys.
Develop, muscular, vocal co-ordination and co~llrol.
x : Write music shorthand for Iranscription to vocal music.
... Train pupils ru focus liste~iing on elements of structure, tempo, rhythn:,
for example.
* Present info~matiorl with the aid of a flannel board.
I29
3. Competencies in Professional Education/Music Education were rated very
highly in impaitance more than the cotnpetencics in the vocal activities and
keyboard activities.
The music tcachcrs perceived themselves as perfornling above average in
19 compctenuies out of thc onc hundrcd they considered important. Thcy arc
listed below in clescending order of rated performance:
Consider needs and interah sf students during the planning of rr~usical
activities (4.05).
Identify specific behavioural objectives for a lesson (3.97).
Select appropriate teaching methods for a Iesson (3.95).
Consider the previous experknce of students when planning a lesson
(3 .go).
Break down a music course into schcmc of work (3.85).
Divide scheme of' work into units and into daily fcsson topics (3.83).
Sing from soIfa to staff and vice versa (3.75).
Maintain a workable relationship with his studcnu (3.75).
Apply appropriate corrective measures to indiscipline behaviours of
sludents (3.73).
Control discipline problems to promote the learning experiences of the
students (3.73).
Maintain an orderly atmosphere in class (3.70).
Encourage creative vocal music making (3.68).
Arrange the voices according to qualities (Soprano, Alto, 'Tenor, Bass)
(3.68).
Kcep instructional matcriaki lical and sn i c (3.65).
trnwlve students in the preparation of instnlctiorla1 materials (3.60).
Use students' g o d behaviours to encourage thcm (3.58).
Participate in choral activities (3.53).
Discriminate between good and bad quality voice production (3.53).
Encourage students to enjoy piano music (3 -53) .
T k music tcachew in G11ugu Stale secondary schools indicated they were . deficient in 81 competencies where they needed improvement. 'The 81
competencies arc listed below:
* Read music in piano keybomi at sight.
6 Sight-read melody and harmonic progression at thc same time.
+. Maintain steady tempo while sight-reading.
Apply rhythmic notation correctly.
:> Play piano music of any slandard with confidence.
+ Demonstrate nlusical examples on the keyboard.
... .- Improvise accompaniment to instlun~entalists or solo singers.
132
Dctect nasal obstructions with the purpose of suggesting remedies.
Develop vocal and nasal rcrnedies in pupils.
Demonstrate good breath using vocal exercises.
Acquire good knowledge of the respiratory system.
Knowledge of ndus for breath control.
Develop and improvc thc aural imagination of pupils.
Use appropriate part slvrrgs for the vocai compass.
Writc voice training exercises in various ways.
Tnnspose to suit the compass of pupils voices.
S e q ~ n c c voice training exercises for easy attainnlent.
Apply itiords to vowels used in training exercises.
Read s score proficiently.
Conduct a choir while reading a score.
Draw a rncntal picturc of any givcn choral piece.
Arrange pieces for proper blend of voice and orchestra.
Display general musicianship.
Posscss good human rdations.
Sltmfure and sequence rehearsals properly.
Take appropriate decisions to stop and rehearse when necessary.
Identify i~nporlant structures, e.g. forrr~, phrase, modulation.
Acquire knowledge of simple chon1 progression,
Write simple piano accompaniments.
Self-con~posed and confident while accompanying music.
Apply basic theory and rudinlents.
Freely interpret piano nirrsic.
Care for and maintain the piano.
Possess good musical ear.
Derect whcll a piano is in rune or out of tune.
Make ue of various piano Iiterature Lo enhance piano playing lessons.
Demonstrate the skills of various techniques of piano playing.
Sing a part in a vocal score of Soprano, Alto, Tenor, Bass with
confidence.
IlIrrstrate musical examples using the voice.
Develop high singing ability in pupils.
Interpret vocal nlusic freely.
Apply correct time signature when sight-singing.
Tmprove the weaker voices to high level of performance.
Test voice frequently and individually for proper ciassif'ication.
Assign voices for proper blcnd and balance.
Attend to position of chest, breath and control of breath.
133
Identify the harnlonic struchrre: Polyphonic or hon~ophonic.
Analyze and synthesise all parts of the piece.
Classify vocal pieccs accordingly for casy accomplishment.
Aural iniaginarion of vocal scores in sections.
Communicak in different languages.
identify songs from various cullures .
Plan singing lessons from various types of songs literature.
Compare wurks of composers from different periods for purposes of
identification.
Use songs adequately to suit valying situations.
Use specific fundamental rhythms as basic Inearls of movement.
Develop in pupils, ability to sing songs with rhythmic precision.
Combine rhythm, drama, and movement in a vocal lesson.
Encourage intclli~cnt and pul-poscfi~l listening to vocal music.
Assist pupils to acquire or form musical taste.
Encourage pupils to cnjoy vocd music.
Encourage satisfactory rcasons to responses to musical stimuli.
Write simple, short and repetitive songs to be learnt by rote.
Arrange short pieces for voice and orchestra.
Choose song texts associated with concrete objects.
Write simple rhymes using a simple melodic movements.
Devise some vocal music reading techniques for beginners.
Develop teacher-made materials, e . g. charts, models, etc.
Use audio visual aids in music effectively, e.g. records, cassettes.
Provide for individual differences in students.
Show knowledge of physical and mental development of students in the
secondary schools.
Cater especially for the need of the handicapped students in the class.
Counsel to improve individual pupil's achievement in class.
Provide n classroom atmosphere where a variety of individual differences
can ;be accomnmdated.
Formulate n system of grading in music consistent with the school policy.
Appraise student perfomlance in relation to stated behavioural objectives.
Use a variely of' cvalualion deviccs and prwcdures, c,g , tests, assignments
and projects.
Develop self-evaluation techniques for students to evaluate their own
progress.
involve students in formulating procedures for self-examination.
Develop and use various types of validated tests styles in nlusic e.g.
matching, true-false compktion, etc.
135
.+ Use test results to improve teaching and learning.
6 . The teachers' pcrfomances 0x1 the k5 ~ompe~emics they rat& "not
important" were very low as shown below:
... <. Transpose during congregational sin!& (2.73).
3 Apprcciare conlcmpor;~ry and old style of keyboard music (2.73).
:+ Detect key board music (2. SO).
.:, Listen to piano rriusic with no focused attention (2.50).
:+ Encourage pupiI participation in keyboard music f 1.87).
:C Encourage the study and practice of piano music (1.93).
+ Tune and repair the piano (2.35).
:+ Play African music rhythm on the keyboard (2.62)
:+: Play orchestral reduction (2.63).
.* LJsage of C clef or figured bass (2.85).
+ Use the medium register AS a point of departure at the onset of cIlnngc in
boys (2.55).
:+ Develop, muscular, vocal co-ordination and control (2. 80).
+ Write nlusic sfiorthad for transcription to vocal rriusic (2.35).
* Train pupils to focus Iistcning on elements of structure, tempo, rhythm,
for example (2.85).
d Present infomiation with the aid of a flannel board (2.93).
136
The nlean scores in parenll~esis show the level of performance of the teachers on
each of the itctns. Thus, the findings revealed a poor and low level performance
generally, very poor pcrfornlance in the EunctionaI Keyboard and Vocal Activitics area L
and fairIy good perfarn~ance in the ProfessionalfMusic Education area (see Appendix J) .
7, From the t-tcst analysis of (11-w mean ratings of lllc clusters on impo~tnrice
IeveI, by the graduate a d N.C.E. teachers, there were significant differences in
their mean ratings at O,05 Ievcl of significance on the following clusters - (Table
6 j.
Cluster 13-11 Classifying voices
Cluster B-iV Training the adolescent voice
Cluster B-VIII - Interpreting vocal music through rhythmic
movement
Cluster C-IV - Discipline/management
'There were also 110 significant differences in thc Incan ratings by the eritdt~:tt~ and
N.C.E. music teachers on their responses with respect to the five cluslcrs in the
keyboard.
8. i t was revealed frorn the t-test analysis of the mean ratings of the clusters
on performance level. by the graduate and N.C.E. teachers rhat there were
significant differences in the mean rating of their performance in sight-singing
frorn a vocal score, training the adolescent voice, classifying voices, conducting
137
choirs, interpreting vocal music through rhythmic movement and evaluating
performances of students.
FURTHER FXNI)mGS
9. 18 clusters of rhe nus sic compctencns were rated important by the nlusic teacher
rcspondcnts, while two clusters - Cluster A-111 - Attitude towards piano nu sic m d
Cluster A-V - Knowledge of keyhoard repertoire were rated not important (see
Appendix K).
10. The respondents performed above standard only in two cIusters, namely, Cluster
C-I - Planning a musk Iamn (3.93), and Cluster C-IV - Discipline/Management
(3.60). They pcrfonncd below average in 18 competencies (see Appmdiix L).
CHArn,R F r n
DISCUSSION OF FINDINGS, CONCLUSION, IUTCOhlME~ATJONS AND
SUMMARY
This chapter deals with the discussion of findings, conclusion, implications of the
study nnd summary. Recommendations and stlggestions for furlher study are also
presented.
The discussion of the findings for this s ~ d y is based on the research questions
and hypotheses that guided the study and is treated in sections, as foilows:
Section A: Discussion af Ratings on 'Tmpartance Level"
1 . Competencies rated 'Important'
2. Competencies rated 'not important'
3. Clusters rated 'important'
4. Cluster A 4 - "Sight-reading music scores on the Keyboard."
Cluster B-T - "Sight-singing from a vocal score".
5 , Cluslcrs rated 'not important'.
6. Competencies within the range of 4.47 - 4.35.
Section B: Discussion of Ratings on 'I)erformance Level'
1. Performance levels of the music teacher respondents: An Overview.
2. The Respondents' Performance Levels in Keyboard Activities-
3. The Respondents' Performance Levels in Vocal Activities.
139
4. The Rymndents' Performance Levels in Professional Education/Music
Education Activities.
Section C: D ix~s ion of f i le rfwlks of the two hypdh~ses
Cluster B-2V - "Training the adolescent voice",
Scdim A.
1. C~mpetencies 'Rated Important'
TabIe 3 presents the resuIt which shows that the rnusic teachers in Enugu State
secondary schools rated one hundred competencies out of the validated one hundred and
fifteen, as important for effective teaching of music in the secondary schools. These
represent their perception sf a large body of competencies required of a music teacher
RS part of his 'personal skilIs' (Fisher, 1991) acquisition in order to be successful in his
jnb.
The huxldred compctemlcies were spread in the three broad musical areas of the
study, namely :
the Keyboard Activities (Category A);
the Vocal Activities (Category B), and
the Professlunal/Music Education (Category C.
These l'indtngs of the study are consistent with similar investigations by Olaitan
(1978) and Anyakoha (1982), for example where the respondents of their studics
140
perceived large bodies of skills important for effective teaching of their areas of
s~c ia I i sa t ion in secondary schools in othcr parts of Nigeria. These pre-service
competencies revealed by thc present study is in litre with Raiman (1975) whose similar
study identified and classified a hierarchy of competencies, which should have been
achieved ;it the completion of thc studcntsl p-c-scrvicc programme.
The music teacher respondents perceivcd all the rnusicaI areas as important in the
curricufum. To their perception, Professional/Music Eclucation and Vocal Activities are
mom important in the schooI music curriculum than the Keyboard Activities. The Iow
rating of the keyboard competencies is inconsistent with the findings of the prior
researchers (Loreen, 1981 ; Wendy, 1988) where the pianistic skills wcre considered
'very important'. A list of the idcntified 100 music competencies in their descending
order of importance is shown urldcr findings in Chapter Four. Further findings on
'Importance Level' revealcd tila& many highly rated (4 points and above) items were
found in Professional Education/Music Education. fbllowed by Vocal Activities areas.
Only rhrce items were rated 4 points and above in the keyboard area. Thcy are:
Itern Number (16) "Care for and maintain the piano (4.00)."
Itern Number (22) "Detect when a piano is in tune or out of tune (4.10)."
Itern Numbcr (21) "Possess good musical ear (4.05)".
The teachers rightly observed the importame of the above keyboard skills and
rated them appropriately.
141
2. Cmnpet~nrries rated 'Not Imprrrtant"
The result of the analysis on Table 3 shows that the music teachers rated 15
competencies 'not important', (below 3.5). The competencies rated 'not important' are,
Transpose during a congregational singing (3.33).
Appreciate contemporary and oId styIe of keyboard rnusic (3.28).
Detect keyboard music (2.95).
Listen to piano music with focused attenlion (2.38).
Encourage pupil participation in keyboard nlusic activities (2.20).
Encourage the study and practice of piano music (2.28).
Tune and repair the piano (3.20).
Play Afr~can rnusic rhythm on the keyboard (3.45).
Play orchestral reduction (2.28).
Usage of C cIef or figurcd bass (3.36).
Use the nlediurn register as a point of departure at the onset of
change in boys' voices (3.35).
Develop muscular, vocal coordination and control (3.45).
Write music sfmrthand for transcription to vocaI nlusic (3.33).
Train pupils to focus listening on elements of structure, tempo,
harmony, for example (3.48).
(95) - Present information with Ihc aid of flannel board (3.45).
From the researcher's point of view all the I5 competencies above should have
been rated 'in~portant'. Each of the competcncies is important in its own merit and in the
general music programme.
The skills that can be used La advantage in the keyboard arca include the ability
to transpose as one accompanies 3tudents' choral activities. During choral activities or
even in a solo performance, the perfornler rnay suddenly wander away from the originaI
key of the piece of music. This also has relevance to the situation often experienced in *
our churches where the orgmistlpianist and the congregation suddenly find themselves
moving in different keys. The music teacher who possesses a good musicaI ear and who
is competent in sight-reading will quickly detect the off-key situation arid maintain the
unity of the voice and the accompanying instrunrent by transposing both the melody and
harmony inlo the new key the congregatiorl has suddenTy gone into. Ability to transpose
a melody from one key to the other ir a high order skill of the keyboard area.
To appreciate Contemporary and Old Style of Keyboard Music is important
because o f the interrdatedness of the old style of keyboard music with the contemporary
literature. Some of the conternporary styles irnbib fragments of the old structure.
Appreciating $ontemporary and old style of keyboard music will enhance the students'
understanding and appreciation of their music history.
143
Detecting specific sounds of instrument is a Iow IeveI cognition before a student
can analyze the instruments of a symphony orchestra. Students should be able to
recognise and identify instruments of the orchestra and particular function performed by
each in the composition, Ability to detcct the keyboard music enhances Listening and
Apprec jrttjon class.
Whereas listening to piano music with focused attention deals with a general
objective of listening, training pupils to focus listening on elements of structure, tempo
and harmony deals with the specifics. Nonetheless, the respondents stilI rated thein below
the standard. This shows their incompetence on the aspect of the curric~lum known as
Listening and Appreciation. A focused Iistening on structural elements of music such as
rhythm, rnehdy, harmony, form, instruments and instrument combination, helps the
students understand and appreciate the inner essence of music.
The teachers' attitude with respect to piano music appreciation could be givcn as
a rationale for rating encouraging pupil participation in Keyboard music activities and
encouraging the study and practice o I piano music low. Studcnls should be encouragcd
to appreciate and practise piano music for children learn to do what they do. If they are
encouraged to appreciate and play keyboard music, the studcnts will have opportunity to
experience and enjoy piano music.
Tuning and repairing the piano is an important keyboard skill which requires the
possession of a developed ~nusical ear to detect whcn the piano is out of tune. This is a
144
specialised area in nrusic tcchnohgy. Although music teachers may not be required to
perform prrrficient!y on this, the teacher should he expcled to dctect a fault and suggest
or recommend repairs.
Playing African Music Rhythms on *he Keyboard entails the demonstration or the
accompaniment of some of tlic sirnplc foIk rhythms and melodics of various parts of
Afric-a and Nigeria in particular on the keyboard. It is an exarnpIe of the marriage of
both the African and Western idioms to produce a new musical effect.
Such songs as 'Re~simesi odun de o', 'Onuru ube nwa gba nuzo', 'Egberikoko
uya ila me', for example, can he accompanied by a combination of the keyboard and
Afr7can instruments for more enrichment.
"PIaying Orcheskal seduction" and "the Usngc of C cIef or Figured Bass" art:
important as keyboard skills but may not be necessary with respect to music teaching in
the secondary schools. Perhaps this explains the rationale for the low rating by the
respondents.
Developing Muscular, VocaI Co-ordination and ControI will pertain to voice
training and breath control which are very necessary skills for successful singing.
"Writing Music Shorthand for transcription to Vocal Music" is a skill that could
be applied to all areas of rnusic learning, cspccially music writing and transcription. The
music shodland deal with rnwsical duration in relation to Notes and Note Values (see
figure below):
and their Symbols Rhythm Name
d o r I Taa
Shorthand Form
0
Fig. 5: Shorthand Fomrs af the Duration of Musical Nates
Taa - aa - aa - ad
With music shorthand, a known melody, for example, "We wish you a merry
Christmas and a happy New year" could be written thus:
Fig. 6: Shorthand Form of the Rhythm of "We wish you a Merry Christmas
and then transcribed into a vocal line as shown l~elow:
We Wish you a merry Christmas (A Carol).
Fig. 7: The Melody of " ~ e ' w i s h you a Merry Christmas", on the Staff.
From the researcher's personal experience, she has found that children find music
shorthand very fascinating, attractive and enjoyade as they can play with transcribing a
known meIody into shorthand and then into a vocal Iine on [he staff. It affords the
students opportunity for ear training, practice in music writing during either rhythmic or
melodic dictation, and also opportunities for creative response activities. A teacher who
has expIored the use of music shorthand in his music teaching wilI derive huge success
in terms of student pain scores, especially in Iistening, music appreciation and music
writing in particular.
"Presenting Information with the Aid of a Flannel Board" requires ability to use
147
an instructional material or teaching aid effecrively for musical illustrations. The
advantage of the flannel board for effecting the teaching of music cannot be
overernphasised. Teacher and students can engage in improvising a CIanr~eI board. Strips
of note vatues, their rhythm names, rnelodic and rhythmic patterns could be illustrated
on the flannel board, an insrtuctional material, is usHd for it appeals to a11 the senses.
Findings also revealed that the teachers did no1 perform well on the abovc
competencies which they rated unimportant and which have k e n found 1s be important.
To rate thc above con~petencies not imprFanr portrays the teachers' incompetence
cognitively. This perhaps explains their low perfonnancc.. The low rating of "Using the
medium re~ister as a point of departure at the omet of voice change in Boys", and
"devehping nluscular itnd vocal co-ordination and control" impIid that the teachers did
not understand the implications of the use of the adolescent voice. The low regard for
these competencies did not conform lo t k c~nclusion arrived at from the current studies
of Cooksey and Welch (1998), nor did it agrcc with the notion of Lynch (1983) about
the power of the human voice. The imprtance of the voice for the effective teaching of
schacsl music cannot be overcmphasised. The voice, apart from the human structure, is
a natural gift of every human being. It is not expensive though it requires great care for
purposes of sound music making. For music reading, the voice requires only orle rnelody
line - harmony and polyphony exclusive. With the abifity to sight sing vocal melody
lines, one could explore independently various areas of vocal literature and accomplish
148
a lot of songs within a period of time. Furthermore, for schooI music teaching, vocal
work is a more convenient, irlstrunlental activity, rclevant and practicable to start with,
to arouse the musical consciousness of the adolescents in ~ h o o l s .
Using the medium register of the voice as a plateau stage in the boys' changing
voice is a bedrock of change into new voice. Tcacf~crs should realisc this and maintain
the cornfortabIc pitch range at this pin{. For the adolescents cannot experience success
I +- &in singing activity? If they are forced into the wrong pitches. This scares boys (in
p x r h ~ l a r ) away from singing and this consequently makes them disinterested in music
generalIy .
"Train pupils to focus listening on elements of structure, tempo", for example,
was rated Iow (3.48). The regard of listening activcly as 'not important' did not conform
with prior research reports like Wells (1987), Wendy (1988) and the Association reports
and curriculum guide of FMEA which have co~isistently regarded Iistening as a very
important aspect of the general music curriculum. Listening is the key point of musical
appreciation. ?'his is effective when listening is not passive. Again most of these
competencies rated 'not important' were contained in the keyboard activities with only
five in the uocaI activities area.
3. Clu.stcrs of Cmnpetencie 'rated Important'
The analysis revealed that 18 clusters out of the twenty used in the study were
rated 'important' (3.5 and above) by the music teacher respondents. The table showing
149
the importance rating of the clusters is shown at the Appendix. Only two clusters were
rated below (3.5).
The eighteen 'important' clusters with their rnean score ratings are, as listed
below;
Cluster
A-I
A-I1
A-IV
B-I
R-II
R-111
B-IV
B-V
B-VI
B-VII
B-VIII
R-1X
B-X
C-I
C-I1
Sight reading musical scores on the keyboard (3.78),
SkilI in acconlpanying music (3,70).
Aura1 pemptkn of tuned and untuned piano (3.78).
Sight singing from a vocaI scorc (4.07).
Classi fyirg voices (4.06).
Developing breath control (3.76).
Training the Eibolesccnt voice (3 .76).
Conducting chits (3.99).
Analysing vocal scores (3.78).
Knowledge: of song scprtsire (3.87).
Interpretation of vocal music through rhythmic movement (3.70).
Appreciating vocaI music (3.89).
Writin: simple vocal music for inexperienced singers (3.75).
Planning a music lesson (4,42).
DeveIoping insrruct ionaI materials (3.97).
C-111 Interest in work and pupiIs (4.03).
C-IV - DiscipIine/Managernent (4.27).
C-V Evaluatirig perfortnance of students (4.00).
It is necessary to ~ncntion that out of the cighteen clusters rated 'important', again
the Prclfcssional Education and the Vocal competencies were Inore positiveIy observcd
as irnprrrtant than the keyboard activities. The teachers' high perception of the
professional education competencies did support and confirm Sur and Schuller's notion
on the need for ptofessiona1 education competencies for the music teachers. Furthermore,
the reports of Music Educators' National Conferewe (MENC, 1972) and FIorida Music
Educators Association (FMEA, 198 1) had outlined prrsfessioml education competencies
as a necessity for the music teacher.
The music teachers rated a11 the Len clusters of thc vocal activities (Category R)
'important'. This irnpIics !ha1 the music teachers in Enugu State secondary schools
understand a ~ l recognise the importance of the human voice in effective teaching and
Imrning of music in schools a d that "the human voice is so powerful that when traincd
and properly directed it can sound through a fulI orchestra" (Lynch, 1983: 42). Thus thc
teachers did support the rationale for contenlporary and current researches and research
findings on the adolescent voice's powcr and vocal range (Cooksey and Welch, 1998).
One could conclude then that thc music teachers rccognised that proper classification of
the students' voices into their proper voice ranges, the selection of appropriate song
151
literature (repertnire) to match the voice ranges and good training in voice production and
breath control, will bring rewarding experiences in choral classes in the secondary
sc hads.
The raring of the two cluslers - Sight-Reading Musical Scores (3.78) and Sight-
Singing from a VocaI Score (4.07) of the keyboard and vocal activities as importanl is
in apeement with the nolions of Mursell (1932) and Peters and Miller (1982) who
viewed sight reading as a high order skill For the music teacher.
Sight-reading and sight-singing are tbe kcy points of the keyboard and vocal
competencies. With the ability to sight-read or sight-sing, an instrumental (keyboard) or
a vocal major could explore independently various areas of voice or keyboard literature.
IIe could play or sing a melody line on the staff without first transcribing it to solfa-
syllatks.
5. Ciluster Cornpctencics rated 'Nd Important'
Two dusters of the cornpctencies, Clustcr A-11 - "Attitude towards piano music
(3.11)" and Cluster A-V - "Knowledge of Keybard repertoire (3.48)", were rated not
important by the respondents. The two clusters are from the keyboard area. "Attitude
towards piano music" had the lowest rating among the cIusters (3.11). This perhaps gives
a true picture of the teachers' low regard for kb keyboard arm. With tk teachers' low
regard for the piano music, how then can the teacher encourage hidher pupils to
nppreciate keyboard music in particular and music in general?
152
6. Comp~tmcies within the Range of 4.47 - 4.35 Competencies that feli into the
range of (4.47 - 4.35) as revealed by the study are:
Consider needs and interests of students during the planning of rnusicaI activities (4.47).
SeIect appropriate teaching methods for a lesson (4.47).
Break down a nlusic course into scheme of work (4.45).
Consider the previous expcriensc of students when planning a lesson (4.45).
Divide scheme of work into units and daily lesson topics (4.40).
Provide a classroom atmosphere where a variety of individual differences can bc accommodated (4.35).
These first six important competencies falling within the mean ranges of 4.47 -
4.32 were education skiIls. The teachers demonstrated theoretically their knowledge of
what constitutes effective teaching as propounded by educational theorists such as Tyler
(1950) and need theorist like Mastow (1962), for example. In addition, the six
professional education competencies fit into the conceptual Framework of Ani et id (1989)
with regard to effective teaching.
13.
I . Performance Levels of the Music Teacher Respondents: An Overview
The resuIt of anaIysis showed that the music kachers currently teaching in E n u p
Srate secondary schools expressed themselves as performing (3.5 and above) in 19
competencies out of the 100 they rated important. Consequently they performed below
153
average, i.e. (3.49 and below) on 81 competencies (Table 4). Onc of the purposes of thc
present study was to identify the important competencies for effective teaching of music
in secondary schooIs which the teachers possess and thc ones they nmd for purpose of
retraining. The teachers have thus demonstrated that thcy are deficient in a Iarge body
of skilIs required for music teaching (appendix M).
2. Perfomance Levds in Key board Activities
The following keyboard activities: Sight-reading musical scores on h e keyboard;
skill in accompanying of music; aural perccption of tuned and untuncd piano; inlcrpreting
piam music and encouraging students to cnjoy piano music were perceived by the music
teachers as iniportant. The samc music tcachers i~ldicated that they are deficient in these
keybnard activities in which they rated themselves low and not performing (see cluster
performances in the Appendix). This implies that they have a need for retraining on tfie
fol [owing keyboard competencies:
I Read music in piano kcyhoard at sigl-~t.
+: Sight-rwd melody and harmonic progression at the samc time.
w Maintain steady ternpo while sight-reading.
+ Apply rhythmic notation correctly.
-c: Play piano music of any standard with confidence.
:$ Demonstrate nlusical exampIes on the keyboard.
+: Improvise accompaniment to instrumentalists or solo singers.
.*. + Transpose during congregational singing.
:+ Acquire knowledge of simpIe chord progression.
*. Write simpIe piano accompaniments.
+ Self-composed 3rd confident whiIe accompanying music.
+ AppIy basic theory and rudiments.
+: Care for and maintain thc piano.
?. Detect keyboard nlusic.
+ Listen to piano music with focused attention.
:+ Encourage pupil participation in keyboard music activities.
r': Encourage the study and practice of piano music.
* Possess good musical ear.
8 Detect when a piano is in tune or out of tune.
* Tunc and repair the piano.
:+ Make use of various piano litcraturc to enhancc piano playing lessons.
* Demonstrate the skills of various techniques of piano playing.
e Play African nus sic rhythm on the keyboard.
e Play orchestral reduction.
* Usage of C clef or figured bass.
3. The Respondents' Performance Levels in Vocal Activities
All the vocal activities identified, namely, sight-singing from a vocal score;
155
dassifying voices; developing breath contrul; trailling the adolescent voice; conducting
choirs; analysing vocal scores; knowledge of repertoire; interpretation of vocal nlusic
through rhythmic movement; appreciating vocal music; writing simple vocal music for
inexperienced singers were perceived by the rnusic teachers as quite important. Again,
the music teachers indicated that they were deficient in all the vocaI activities except in
Singing from staff to sol fa and vice versa; Arranging the voices according to qualities:
Encouraging creative inusic making; Participathg in choral activities. They therefore
need retraining in the fol1owing competencies:
+: Sing a part in a vocal score of Soprano, Alto, Tenor, Bass with
confidence.
:3 1lIustrate musical examples using the voice.
+ DevcIop high singing ability in pupils.
<: Interpret vocal music freely.
$: AppIy correct timc signature when sight-singing.
!+ Arrange the voices according to qualities (Soprano, Alto, Tenor, Bass).
Imprvve the weaker voices to high level of perforlnancc.
:+ Test voice frequently and individually for proper classification.
+ Assign voices for proper hlend arld balance.
+ Read a score proficientIy.
$: Conduct a choir while reading a score.
Draw a mental picture of any choral piece.
Arrange pieces for proper voice and orchestra.
Display general musicianship.
Possess good human relations.
Structure and sequence rehearsals propcrly.
Take appropriate decision to stop and rehearse when necessary.
Identify important structures, e.g. form, phrase, modulation.
Identify the harmonic structure, whether polyphonic or homophonic.
Analyze and synthesize all parts of the piece.
Classify vocal pieces accordingly for easy accompIishn~ent,
Aural imagination of vocal scores in sections.
Encourage intelligent and purposeful listening to vocal music.
Assist pupiIs to acquirc or form musical taste.
Encourage pupils to enjoy vocal music.
Encourage satisfactory reasons to responses to musical slirnuli.
Train pupiIs to focus listening on elements of structure, tempo, etc.
Write sirnpIe. short, repetitive songs to be Iearnt by rote.
Arrange short pieces for voice and orchestra.
Choose song texts associated with concrete objects.
Write simple rhymes using simple melodic movements.
~k Devise some vocaI music reading teclmiques for beginners.
4. The Respondents' Performance hvt ls in fiofessional EducatiordMusic Education
The professional education activities, identified i.e. planning music lessons;
devehping instrucclona1 materials; interest in work and pupils; discipline and
mamgernent, and evaluating perfarmance of students, were perceived by the music
teachers as very inrprtant. While the music tcactlers performed well in the areas of
planning a music lesson and discipIine and management, they did not perfbrrn well in
developing instructional materials: interest in work and pupils and evaluating
perfflrnrnncc of s tdenls .
They therefore n e d retrain in^ in the following competencies:
:+ Develop teacher-made materials, e,g. charts, models, etc.
Q Use audio visual aids in music effectiveIy, e.g. radios, records, cassettes.
e Present infomation with the aid of a Hannel board.
4 Provide for individual differemes in students.
-A Show knowIedge of physical and mental development of students in the
mondary schaols.
* Cater especially Tor lhe need of the handicapped students in the class.
# Cmnsel to improve individual pupil's achievement in class.
* Provide a cIassroom atrnmpherc where a variety of ifdividual diflerences
can be a~ornrndated.
+ Use students' good behaviour to encourage them.
w FormuIate a systcm of grading in nlusic consistent with the school policy.
c Appraise students' performance in relation to stated behavioural
objectives.
* Use a variety of evaIuatior~ devices and procedures, e.g. tests, assignments
and projects.
:L Develop self-evaluation lechniques for students to evaIuate their own
progress,
A InvoIve students irl formulating procedures for sclf-examination.
* r)evelop and use various types 01 validated tests styles in music e.g.
matching, true-false cornp!e!ion. etc.
+: Use test resuIts to improve teaching and learning.
The Rmpondents' Performance Levels on the 15 Cornpetenrics rated 'Not Important'
As shown in thc findings in Chapter four, the respondents performed very poorly
in the 15 competencies thcy rated not important (Appcndix N). This is probably in lirlc
with their Jow concept of their importance for effective teaching of music in the
secondary school.
Section C:
Discussinn of' the results OF the Two Hygothesa oF the Study
No significant difference was found in the mean ratings of the clusters of the
159
cnmpetencies by the graduare and N.C.E. music teachers on sixteen cIusters out of the
twenty cIusters. These include all tk cIusters of the keyboard area, Like Wells' (1987)
findings, this implies that there is an agreement among the graduate and N.C.E.
respondents regarding the keyboard skiIls that are important for school rnusic teaching.
Furthermore, it shows that their qualifications did not influence their ratings of the
keyhoard competencies. In like manner, their qualifications did not influence their rating
of the seven vocal activities' clusters and four prof~ssional/music education clusters
indicated on Table 5.
However significant differences existed on three clusters of the vocal activity area
and one in the professional education area. These are:
Cluster B-I1 - Classifying voices (3.86: 4.43),
Cluster B-IV - Training the adolcscent voice (3 .GI: 4.27).
Cluster B-WII - Interpreting vocal music through rhythmic movement (3.48:
4.13).
Cluster C-IV - DiscipIine/Managemerlt (4.07: 4.66).
The scores in parenthesis denote (N.C.E.: Graduates) mean ratings of the cluster
competencies. In each case, the ratings of the graduates were higher than those of the
N.C.E. teachers. Thus one could cuncIude that their qualifications influe~~cecl their
ratings. Perhaps this could be as a result of the depth of training received, on the
importance of 17mI activities.
1m
Furlhemlore, significant difference also existed in the performancc abiIities of the
N.C.E. and graduate music teachers in the following clusters of the music competencics:
NCE Graduate
Classifying voices (3.18 : 3.75)
Training thc adolescent voicc (2.80 : 3.39)
Interpreting vocal music through
rhythmic movernent (2.71 : 3 -23)
Both N,C,E, and graduate music teachers rated the above competency clusters very
important but performed below the average generally. The graduates indicated thcir
competence only in classifying voices (5 -75).
The irnportancc of training thc adolescent voice cannot he overernphasised. While
the N.C.E. holders scored this competency (3.61), the graduates scored it very high
(4.27) signifying that both groups understand the powers of the adolescent voicc. It is
inlpartant to note that both the N,C.E./Diplorna and graduate music teachers performed
poorly on the compeience showing their incompetence on the art of voice training.
Recent research e.g. [Cwksey and WeIch, 1998) has shown that the adolescent voice
could be trained alxl properly directed for a successful singing and overall ~nusical
experience in schools. This training should be accompanied with sraitablc vocal exercises
and vocal literature within the mean ranges of the voice change Iirnitations,
In the professional education area, significant difference existed in the mean
161
ratings of the performance of the cluster uf cornpztencies between the graduates and
N.C,E. holders on evaIuating perfbrn~ances of students. The teachers indicated their
incompetence by rating their perfortt~arlce as (3.16 and 3.00) N.C.E. arid graduates
respectively .
CONCLUSION
Competence in professional education, theory and practice has been found to be
very necessary for a music graduate who is aspiring to succeed as a mask teacher in the
It is significant tIlat the music leachers themselves rated the competencies as
important and aIso rated their own performance in those competencies vety low. In the
three broad categories of competencies considered, the Enugu State music teachers were
found deficient. The general non-performance of' the music teacher respxdcnts in the
field casts doubts oil their in-depth training. This perhaps explains the poor performance
of the students at the J.S.S. examinations and lack of motivation in rnusic teaching.
From the findings of the study, one could draw the conclusion that qualification
influences the IeveI of perception of the importance of the competencies, for the
graduates rated all the competency clusters slightly above average impom~e whereas
the DiplomdNCE music teachers rated them iowcr than that of rhe graduates.
In consonance with Abcles (1984), this is an attempt to docurllent what is partIy
necessary to make a competent music educator. With this as a consensus of opinion of
162
the teachers currently teaching music, they (teachers) can agree on goals and on the
means to evaluate thcir success in achieving them. This is the essence of C.B.T.E. which
lays emphasis an behaviours demonstrate$ by t k graduate reacher in the field.
Educational Implications of the Study
The study has impIimtions for music tcachers, kacller training institutions,
pmfessional music assmiation, the Ministry of Mucation and Govcrmen[. The ovcralI
impIications to the teacher lies on the demand of the large body of skills for him to
I acquire. He has to understand that the activities involved in music teaching in the field
are wide, varied and all-involving. Therefore the nlusic texhing job cam1 bc handled
haphazardly.
It has implications for the already serving teachers in schools, for self evaTuatian
and subsequent seIEimprovement. Ir the findings of this study are disseminated
publication-wise, not nnIy the teachem but the music teacher educators' atfention will be
drawn to a wide range of field-based nus sic teaching cornpetemies which might h a w
been neglected o r over-emphasised in thc training of music teackrs. The training
institutions will find the field-based competencies relevant, and appropriate in thc training
and retraining of music teachers.
Furthermore, ProfessionaI Music Associatiori and the Ministry of Mucation could
organise workshops, seminars/confcrences based on the identified music teaching
competency needs. These would heIp the teachers to gain more grounding on the means
163
to handIe the music teaching in the schools effectively. The LcacIlers would then achieve
better results.
T f ~ e implication of the findings of this study to the Federal and state Governments
lies in the training of more music teachers by the Federal and state Govermnents. These
teachers should be posted to the primary and secondary schools. Government should also
buy textbooks and other music literature books for sight singing, sight reading, keyboard
harmony, establish music Iibraries in each locaI government area and equip the schools
with rnusicaI instruments, especially the keyboard nlusical instruments in sound proof
rooms.
Recommendations
Based on the findings of this study, the following recommendations are suggested:
Workshops, seminar and in-service training, should be organised for the
music teachers based on the 81 needed co~npete~lcies in order to retrain the music
teachers and update their knowledge.
2. The compstencics which have heen perceived as important shouId form a
component of factors to k used in evaluating music programmes in tertiary
institutions with respect to t k three broad areas of musical activities used for the
study.
3. Thc 100 competcneies perceived as important by the teachers shouId be
used by the already serving teachers in schools for seIf-evaluation and self
impr~vement.
4. Furthermore the identified important competencies could be interpreted
and translated into content for music curriculunl of the secondary schools.
5. Government and school administrations should provide keyboard
insttuments and keyboard literature hooks [or the music teachers in the secondary
schoois and training institutions.
6. Practicals should form a rnajor component of the training programme for
music teachers. There should be an increase in length of time given to teaching
practice.
The alarming rate of non-performance by thc music reachers will require
constant and adequate supervision by the Inspcctorate Division irl the schools.
As a result of the aIarming rate of non-performance of the music teachers
in the keyboard activity area in particular, arid the importance of the keyboard
instrument in the effective teaching of school music, comes in functional
keyboard should be made compuIsory in colleges of education and universities.
Limitations
The findings would have been different i f the population had been larger. The
researcher had hnped to include other music teachers within the state but these belong
to a few private and Federal iustitutions. Thus she was compcllccl to use the data given
by the Ministry of Education, Naming Research and Statistics Department, Enugu (see
165
Appendix ), since this gives an insight into the music situation in the schools run by the
State. Findings within this State could be a predictor to the situation of music in other
States within the Federation.
At the request for record of cnroIrncnt and performance, only those of 1995 and
1996 were made available to the researcher by the Examination Development Centre,
Enugw , in 1997, when the request was made.
Suggestions for Furthw Raearch
The foIlowing suggestions have been made:
1. It is suggested that the study be replicated in other areas of the genera1
music programme: African music, music history, Musical Apprwiation, Theory
and Rudinzents sf Music.
The study could be replicated in other States of the Federalion.
Researchers should research into the slrategies for using thc human voice
for effective teaching and learning of nus sic in the secondary schooIs.
Summary
Music i s for every child. It is important in both human and national development
and in the training of the mind in the understanding of the world around us. It is an
important secondary school subject capable of equipping the students with job entry
skills.
Music education in Nigerian secondary schooIs with particular reference to Enugu
166
State, is fraught with many problems. These problems include the low enrolmetlt of
students at J.S.S. music examinations; non-enrolment in the senior secondary school
music examinations and tk low level prformancc by the studerlts who enrolled in
music, for exmpIe, in Enugu state. This situation has k e n partly attributed to possible
chronic-teacher related characteristics lhat irxlpedc thc effccfive teaching and learning of
music, hence this study sought tu identify
(a) the competencies needed for effective teaching of music in secondary
schools and
(b) the competencies which music teachers possessed and needed for purpose
of refraining.
The study answered Iwo research questions and tested two hypotheses. The survey
research desipn was used to enahlc the researcher identify the competencies. The
inventory of cclrnpetencies for Effective teaching of Music (ICETM) was developed by
the researcher for iden t ily ing the important cornpetencies . the contur~ts were deveIopcd
from several sources of Iiterature and the junior and senior secondary school curriculum
and information from the universities and colleges of education.
The instrument consisted of three sections dealing with
(a) Introduction and instruction on how to filI the entire inventory;
(b) personal data and
[c) the 115 competency items organized into three categories, namely
1 fi7
Keyboard Activities; Vocal Activities and Professional EducatiodMusic
Educatim. Each cate~ory was organised into clusters,
The 115 validated items wcre rated on a five poinr Likert scale on the basis of the
respondents' perceived level of importance and his perceived level of performance on
cash item.
Research reports have advocated identitkation of cornpctencies. Researchers and
education theorists have a p e d that through identifying the 'deficiency' needs of serving
teacher, an in-service education could be organised for the purpose of retraining and
updating the teaclrers' knowlcdgc.
The results of the analysis of data to answer the two research questions revealed
I00 important competencies perceived by the music teachers in Enugu state secondary
schools and 81 competency 11eeds of the music tertchers in Enugu State. Significant
differences existed on the mean ratings by N.C.E. and Graduate teachers respondents
when compared by qualification, on some clusters of competencies.
The keyboard competencies received the bwest ratings of importance when
compared with vocal and professional education skills. The teachers performed very
poorly in the vocal and keyboard competencies. The professional educatiodmusic
education competencies were rated very highly on importance level. The teachers
performed fairIy better in this area.
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APPENDIX A
QUEsTIONNATRE
TITLE - THE INVENTORY OF COMPETENCIES FOR EFFECTIVE
TEACHING OF h.TUSIC (ICETIM).
SECTTON A ABOUT THE QUESTIONNAIRE USED
INTROlDUCTION
The purpose for which this instrurncnl is sent lo you for completion is to obtain
data ncccssmy for identification of cornpcteneies which music teachers need for the
effeche teaching of this subject in Nigerian secondary schools. The identification of the
needed competencies is inter~dcd for compiling spec if^ activities of music education, at
the secondary level, in which additional training and or retraining of music teachers are
considered important and, so, required. The competencies are grouped into categories
which a r e basically broad activities of music reducation. Each catcgory is further broken
down into clusters. A cluster is a grouping d'cToscly linked and related competencies.
Below each cluster are the competencies themsehcs. They are actions which can only be
successfully undertaken by persons trained and knowledgeable in music, especially a t the
level of teaching it at the secondary schools.
The competencies are arranged into three broad categories:
Category A - Functional keybard activities
Category B - Vocal activities
If9
Categnry C - Professional educatio~l/rnusic education competencics.
INSTRUCTIONS
This insrrurncnt is In two parts, the persona1 data section and the categorisation
section. The cornpetencie~ are serially numbered on the left hand column of the
instmrnent. There are two columns to the right of the serially listed competencies. One
of the columns is the Ievel of importancc on the particular competence as perceived by
you. ReIuw each of these :wo columns, there are five possible respoxlses. Thus, each
competency is to be rated oil a five-point scale, under both columns. The five-point scalc
are as fol'lows:
Competency is of very high importancc or performance level = 5
Competency is slightly above average importance or performance level = 4
Competency is of average importance or perfomlance level = 3
Competency is slighc1-j below average importance or performance level = 2
Competency is of no iniprtance or performance level = 1
The level of importance of a comptcncy is an indication of the extent you feel or know
that the particuIar competency is important or othcrwise, for effective tcaching of rnusic
at the secondary school. The level of performance is an indication of thc extent you feel
or know that you can perform (the particular competency as teacher of music in the
secondary school. If there are observed gaps between importance and performance of
these c~rnpetencies, after your responses have been collated and analyzed, such gaps will
I80
be the identified competencies for further lraining and retraining of secondary school
music teachers.
Kindly read each competency careful2y and thoughtfully and mark an (x) in the
box which best indicates your perceived itnfrortance Ievel of thc competency; similarly
mark an (x) in the box which best indicates thc level at which you fed or know you
perfom this cnrnpetzncy. Kindly complete al! the items of This questionnaire iegibly and
accuratdy. If there are other important compete~lcies which you consider that music
teachers in secondary schools must possess, kindly indicate these in the spaces provided
at the end of this inventory.
SECTION R PERSONAL DATA,
1. Please tick J in the box besides your highest qualificatiorx and date.
Diploma in Music NCE (Music)
Date
Bachelors degree and Diplon~a in Music
Bachelors degree in Music (B.A. or R.Ed in Music)
Date 0
Masters degree in Music (M.A. or M.Ed. in Music) U
Date [7
Doctorate degree in Music
Date
Doctorate degree and Diploma in Music
Others (specify)
Sex: Male u Female 0
Experience:
SECTION C - COMPETENCIES IN THE THmE BROAD CATEGORIES
OF MUSTCAL AREAS (A, B, C).
CATEGORY A - FUNCTIONAL KFWBOARD? ACTIVITIES
SIN
1
2
3
Clustcr A. I :
Sight-Reading hlusicat
Scow on he. Kryboard
Rcad lnusic in piano
keyboard score at sight
Sigh[-rmd mclotiy md
har~~lonic progression at
rhe same h ~ c
Maintain steady t e m p
while sight-reading
Lcvcl of iuiporrancc as
pcrceivcd by you
5 4 3 2 1
o a o o n
C1
n 0
[7 C]
Ixvcl o f pcrfoniinncc as
perceived by you
5 4 3 2 1
o o o o o
0 0 0
0 C]
SIN
8
9
10
Transpose during
congreg;rrional singing
Acquire knowledge of
sirnplt chord
progression
Writ simplc piano
xccompmirr~enC
Sclfsomposcxf and
confidcnt whilc
nccompnnymg i n music
Apply basic thcory and
rudiments
pcrreivcd by you
5 4 3 2 1
- --
Level of importance as
FrccIy Intcrprcr p imo
music
Appreciate
coorcrnporary and old
style of k q h a r d m s i c
Crustcr A. 111:
Attirude towards piano
music
-
Encourafe stutlcnts ro
Listm to pimn music
with focused attairion
pcrceivcd by you
Lcvcl of pcrforinancc as
pcrccived by you
5 4 3 2 1
0 0 n n u
Encourage pgEl
pariiciparing in
kcyboard music
x.c\iviries
Encourage 111e nrdy
.and pfac!icc of piam
music
Cluster A.. W ;
Aural Perceplion of
tuncd and untur~cd piano
irr tunc or out of tunc
Tune and repair thc
piano
Ixvel of importance as
perceivcd by you
Lcvel of performance as
pcrceivcd by you
5 4 3 2 1
o n 0 o n
SJN
24
25
26
27
Clustcr A . IV:
Knowledge af Keyboard
repertoire
Makc use of various
piano lilerar~~rc to
cnhmce pimo playirig
le*ssons
Dcrnonslrarc the skilIs
of various tcclmiques of
piano playing
Play Airican rhythm on
the keyboard
Play orchmtral
reduction
k v u l of imponmix as
pcrccived by you
5 4 3 2 1
O O O D O
0 0
IJ
q q q
0 ~ [ 7 c K l
!hvel of performance as
pcrccivcd by you
5 4 3 2 1
0 0 0 0 0
I73 u
IJ 0
q q q q q
~ [ 7 o C ] o
-
I rsk them, below).
Cluster B-I: i--- Sight-singing from a
I vocal score
Sing a part in a vocal 7 score of S .A .T .B . with
confidence
30 illustrate musical
cxarnples using Ihe
I voice I
Level of imporrance as
perceived by you
Level of pcrfornlancc as
perccivcd by you
Sing from solfa lo slal'i
wd vicc versa
Dcvclop high singing
ability in pupils
Irlrerpret vocal music
frccly
Apply correct time
signalure when sight-
singing
Clustcr U-11:
Classifying Voiceb
Arrange the voiccs
according to qualities
(Sop., Alto, Tcnor,
Bass).
Level of impor1,mce as
perccived by you
5 4 3 2 1
U 0 0 U O
Levcl of pcrformancc as
pcrccivcd by you
5 4 3 2 1
n u 0 O U
Improvc thc tvcakcr
voices to high Icvcl of
pcrfor~n~mce
Test voice frequently and
individually for proper
classification
Assign voices for proper
blend and balance
Clus~er U-HI
I)evcloping brcalh control
Arrend to position of
chest, breath ;md conrrul
ovcr breath
Detccr rlasal obstruc~ion
wirh the purposc of
sug&s~ing rcmedies
Level of importance as
perceived by you
5 4 3 2 1
n o o o n
Level o l perfurmame as
perceived by you
Davclop vocal and nasal
rcmedics in pupils
Demonslrate good
breath using voicc
exercises
Acquirc good
knowledge of lllc
rcspirarory systcrn
Knowledge of rulcs for
tmnlh control
Clusrcr £3-IV:
Training rllc adolescent
voice
-
Develop and improvc
the aural imagiriarion of
the pupils
Level of imporlancc as
perceived by yo^ pcrceivcd by you
Usc Illc I I I C ~ ~ U I I ~
regisler as a poinl of
departure at ~ h c onset of
ci~angc i n bops
Use appropriate par1
songs for Ihe vocal
compass
Trmposc lunes to suit
thc cornpass of pupils'
voiccs
Writc voice training
cxerciscs in various
ways
Sequence v o n ~ training
exercise lor easy
altainlnent
Level of imporlance as
perceived by you
5 4 3 2 1
u o n u o
Level of performance as
perceived by you
5 4 3 2 1
0 0 u 0 0
pcrceivcd by you
1 51 1 Apply words lo rowvcls I !-"J
and diphthong used in
training exercise
I I
Cluster 13-V:
i I Conducting Choirs
Draw a rr~cnral picturc 17 0
of any givcn choral I 55 Arrange pieces for
Ijropcr blcnd of voice I and orchestra
pcrccived by you
Display gcncral
musicianship
Possess good h u ~ r ~ a n
- - --
Slruclure and sequence
Take appropriate
decision ro stop and
rchcarsc w l m
ncccssary
Cluster D-W:
hna[ysing VwaI Scores
structures c.$. lorrn,
perceived by you
n o o a a
ldcnrify ttlc harmonic
struclurc, whether
polyphonic or
homo phonic,
--
Analyze and synthesize
all pans bf [he p i ~ r c
Classify vucd pieces
accordingly for easy
accnn~p~mimcnt
Aurd imagination or
vocal scores in sccrions
Clustcr B-VII:
Knowkdpe of song
rcpcrto i re
Communicate i n
L.evcl of importance as
pcrceivcd by you
5 4 3 2 1
u u a n
Level of performance as
perceived hy you
various cultures
Plan sinsing lmons
l'rorn various typcs of
song literarure
Compare works of
composers from
diffctrnt pcriods for
purposes of
idcn~ification
Use songs adcquarely to
suit varying situations
Cluster B-VIII:
Inrcrprcl Vocal rnusic
through rhythmic
rimvemem
Level of i~npnrtance in Lcvcl OF performance as
perceived by you
5 4 3 2 1
perceived by you
5 4 3 2 1
u n o a n o o o o o
[lcrccivcd by you
5 4 3 2 1
O U O 0 0
70 Uxl. specific C m C M J r ]
hndamcnlal rhylhrrrs as
Devcbp in pupils, 0 0 0 ~ [ 1 3
ability to sing songs
I with rhythmic precision I
1 74 1 Combinc rhy rhm.
I I drama and movement in I
pcrccived by you
Level of iniporrar~ce as
I perceived by you
Cluster 13-IX:
Appreciating Vocal
Music
Encourage intelligent C] 0
and purposeful listening
lo vocal music I Discriminak bctwcen 0 0 I good and bad quality I
enjoy piano music
Level of performance ns ----I perccivcd by you I
Encourage satisiaclory
redsons 10 rrsponscs to
~nusical srirnuli
Train pupils lo focus
listening on ckmcrus of
structure. IcInpo, elc
Clusrer B-X:
Writing sinlple vocal
music for inexperienced
singers
Write simple ahort
np3irive songs to hc
learnt by role
Arrange short pieces for
mice md archrma
perceived by you perceived by you
Cl1oosc song [EXtS
associaid with concrctc
ohjms
Wrhe simple rhymes
using 11imp1~ melodic
rnovenlents
Devise some vocal
music reading
techniqnn for kginncrs
Encourage crcalivc
music making
Other Cvrripercncics
(Please 011 them and
rare I1n.m bclow)
Level of irnporrance as
pcrccivcd by you
5 4 3 2 1
n n n n n
perceived by you
5 4 3 2 1
SIN
Cluster C-I:
Plnrirling a Music
Lesson
Break down a nlusic
coum into ~Aiernce of
work
Dividc sckntc of work
into units and daily
lesson ropics
k v c l of irnpvrmcc 3s Level of pcrfvr~nmrc as
perceived by you perceived by you
5 4 3 2 1 5 4 3 2 1
a a a o o o o o u o
Identify spxilic
txh avioural ob.jm~ives
for a laxon
- ~. -
Consider nceds and
interests of sludcnts
durhg the planning of
lrlr~sic activities
-
-
A
pcrccivrc! by you
5 4 3 2 1
92 Sclcc~ appropriate C]"a 'C1r]m
, reaching methods far a
I I experience of students I I when planning a I m n
I
Cluster C-!I:
I I preparation of I ins~ructiond materials
1
96 K c p instrucrional n n
I n~arericls neat and safe I
perccivcd by you I
S/K
97
d~7.elopmcnt of audcnrs
/ in lhc secondary xhml
I
Lcvcl of importance as
pcrccivcd by you
98
9
k v c l of perfornmce as
perceived by you
Usc audio viaud aids in'
music clf~ctively, e.g.
physica1 and mental
radios, records,
cawttcs
Prescnl iniorrnaliim
with thc aid of a flannel
board
CIusrer C-111:
Intcrest in work ,and
pupils
Pravidc for irdividual
d i f f c r c m in s rdcnts
Show k~~owlcdgc ul
5 4 3 2 1
n o n o I 3
a Clj, 0
5 4 3 2 1
n o 0 0 0
0 q 0 0 q
0 0 u n
CJ [?
U U a U
0 0 0 0 0
rr] rJ 0
U 0
SIN
101
102
- I04
Level of impurt~mce as LevcI of p ~ r f o r ~ ~ a
perceived by you pcrccivcd by you
5 4 3 2 1 5 4 3 2 1
0 0 0 0 0 0 0 0
- C a m cspccially for !Be 0 0 0 C] [1?
fid or CIIC ~~mditapped
student in tk class
Counsel to improve [1? C] 0 0
individual pupil's
relationship wilh his 1 students I I
Cluslcr C-IV:
DisciplinelManqenlent
Pravidc a classroom C] CJ 0 [1? [1? n atmosphere w k r c a
varicty of individual
diffc'crences can be
acctsmmoda~cd
Conrrd discipline
problcms lo pfntccl thc
ka-rriy cxperlc~ms of
thc sludtnis
Apply appropriale
corEclivc rncnsurea lo
indiscipline bchaviours
of sludenrs
Usts sludcnu' gmd
khaviours to tnmurrgc
1hen1
Clusrer C-V:
Evaluate perfarmlance
of students
percejvcd by you I perceived by you
- Forrnutntc a syslcm of
_~rading in music
conqislcnt wilh thc
school pdicy
Appaisc sbdcrit
per forrnancc in relalion
to s lakd behavinurnl
ubjcct i v ~
Usc a vmicty OF'
eviduation d c v i w and
proccdurcs c.g. tests,
assignmcnb and
gmjojecls
pcrceivcd by you
Develop scl f-cvalunlion
rcchniques for sludcnts
to evaluate [heir own
progmss
InvoIvc studen~s in
formulating procedures
for sd f-cxamination
Dcvelop a d use
vmlnus Cypcs of
validated lcsrs In music
e.g. matching, rrut-
ialse completion, etc
Use tts[ rcsulrs to
i~nprove reaching and
learning
Lcvel of imporlance as
prceivcd by you
Level of performance as
perceived by you
SIN Lwei of importarm as
perceived by you
5 4 3 2 1
n n n n
Otllcr compctcncies
(PI- f i l l and ratc
~hcrn, bclaw)
- Level of perfornlancc as
pcrccived by you
5 4 3 2 1
n o n a n
APPENnrn I3
Fnmlmcnt in Junior Sccor~dary Scbcwll Cetlificate Examination in 26 Schools in Entre,u Stotc
Sch
Codc
No.
3088
309 I
m r 2
3 0 7
30 LO
3023
3057
Army Day Sx. Sch
hbakpa Nikc
Army Day Sec. ScIr
Awkt~nanaw
Qumns Sch. Enugu
Union kc. Sch
Awkunanaw
Giris High k h
Awkunanaw
Uwntri Sec. Sch,
U w m i
Girls I-Iigh Sch
Ugwuoba
Music
Enroln~cn~
4 9
35
70
10
20
JSS
Eruolnlcrll
534
58 I
4GO
406
500
203
102
M txic
Enrolment
I Scc. Sch, E n u g ~
Sell
Codc '
No.
3062
I Trms Ekulu Girls
Nane of ScRml I
Rcpublican Girls
Sscnd IlcaFt Sot.
Sch. Nsude
1Jrban Girls S e c .
Sch. Enugu
Holy Rosary
College, Enugu
Our hrd's Shcpherc
[ntlepcndcnr Sec.
Sch. Enugu
JSS Music JSS
Enrolment Enrolnicnl Erlrolmcnt
Music
Em01 menr
Sch
Code
No. -
3136
3 147
400 I
4003
4 00.1
4006
4WD
Osisa Tcch Scc. Sch.
Enugu
The Good Shcphcrd
Scc. &11. Enugu
SI. ntresa's
College, Nsukka
Qacen of the Rosary
Sec. Sch. Nsukkn
Nsukka High Sch.
Nsultka
Communily Scc.
Sch. Isienu
Community Scc.
Sch., Obirno
JSS
Enrolment
98
311
230
4UO
157
Music
Enrolment
JSS
Enrolrncnr
I
Music
Enrolmenl
d
19
17
34
63
16
280
1 G
Sch / Nme of School
Codc
No. I 4049 Community Scc.
Sch., Edc Obrilla
4053 Girls Sec. Sch.
Owcrre-Ezeosba
4O8O S.C.G. Sch,, Nsnkka
4081 , Union Sec. Sch.,
JSS
Enrol men t
Music
Enrolment
JSS
Enrolrncnl
Music
Enrolnlen~
255
68
18
4 1
214
Souwc: Exun. Dcvclopmcnt C'enlrc, hlinis[sy of Education, Enugu, and Statistical
Division, Education Con~mission, Nsukka
214
AWENRZX D
P~rformance Trend of Students enrolled in Junior Secondary School Certificate Exarnination in
Music in Enugu Sfdlc from I994 ta 1996
School
Code
4004
4004
Url7m
Gids
Nsukka
4003
400 1
4040
4ll40
409.7
4093
4080
4080
Told
Enrol mcnt
34
16
253
36
34
4 1
16
195
214
70
I8
Distinction
0
I
0
0
I
0
0
2
5
0
0
I
Pass ~
17
12
243
3 1
25
39
9
171
197
65
12
Failure
17
2
0
3
2
4
I
0
0
2
3 (not
rclcimd)
APPEMIJX C
Number of students that ofrered Music at the Senior Secondary Level from 1990 - 1994
Na~nc of' School
Queens &hllol, Enugu
Daughter of Divine
Love, Abakpa - Enugu
College of Irmnaculatc
Concept im, Enugu
Sourcc: Wesr African Examinations CounciI Office, Minisly of Education, Enugu.
School
Code
Toral
Enrolment
Saurcc: Statistical Division, Education Conmission, Nsukka Education Zone
215
Disiinction
3
0
4 3
Pass
227
IS5
103
Credit
9
0
5 7
Failure
12
56
72
Rcmxks
29 absent
Yciu
1996
1995
1996
APPENIIIX E
I: Data on Music Teachers in ,Sermtlary %hoots in Enllg11 State
Enucu Easr
Nknnu Vicst
Nkmu Easl
Awgu
E7.eleu
Udi
Urban GSS. Enr~gu
M w h n GSS, Fni~gu
Qllccns Sclr., E n u p
Uninn SS, A wku~iarxw
Boys SS;. Uwani
Girls M.S. Awknaira.rv
Army Day S.S., Awk.
Girls S.S. Eraw
Girl.; S.S. .4lmkp1 Nikc
Trrins-Ekulu GSS FHUCLI
~ n l l ~ ~ l i t i ~ t i ~ n SS. Nikc
Cn~iim. S.S. Obunfia
Girls S . S . Ulx
Girls S.S M~lw\vo
Cnninr. S.S. Unrunh Ndiuno
COIIIII~. S.S Ngwo Unn
Sl. Tlicwsa's S.S. A h r
Colnin. S.S. Nsr~dc
Girls I - 1 5 . hiyi
Ngwo
Nsudc
SIN
Nsakka Zvnc --.
hfalcrn S.S. Nmkta
Urban G.S.S. Ns~~kka
Quec~i Sth. Nsul;ka
Sl. Cyp. G.S.S. Nrukkn
SI . Tlwc~a'r 5.5. Nrl~kk;~
Cnmn. G.S.S. Isicnu
Cnmm. S.S. me Otx i l l ~
Colnm. S.S. O b i m
R o y ' S . S . Nru
N ~ I I ~ ~ J H.S. Nsukka
C m m . S.S. O h k p
I.!nlo~~ S.S. Eha A~rnrfa
Il:caka G . S . S . nr;rka
T.T.C. NSUKKA
14
KO. OF M1XTT
TEACI TERS
11: LETTER TO ME FROM THE hYlNlSTRY OF EBUCATION, ENJGU ON 7'RE DATA
COLLECTION ADOVE
GOVERNMENT OF ENUGU STATE OF NTGERIA
Telegrams: (State Govt. Logo) MINISTRY OF EDUCATION
Telephone: PI,AN?+TTNG RJISEARCH Br SI'ATTSIUS
DEPT.
P.M.B. 1020
Your r c F .................... . 8 Dcccrnber, 1W7
B.E. Umeh (Mrs)
401 Elias Avcnue
Univcrsi~y of Nigeria,
Nsukka
Dc3r Madam,
DATA ON MUSIC TEACHERS IN SECONDARY SCBCKILS IN EMJGU STATE
I forward hercwilh llx: mmplcrcd data on Ihe number of Secondary Schools that offer Music,
Number of Masic Tcachrs pcr school and the Number olScconrlary Schools per Local Government A r u .
It i s therefore bcIicvctl that ~ h c data will be uscd accordingly.
Thanks.
(Sgrl)
V. E. Mogboh (klrs)
Director (PRSD)
Ministry of Edricarion
Enugu
- - 219
APPErnrn F
SECONDAXY SCHOOL5 IN ORLU EDUCATION ZONE OF IMO ,STATE IISED FOR FIELD
TRIAL
SIN NAME OF SECONDARY SCHOOL
Camprcl~cnsive Swonclary School,
Eziama, Obaire
St. Carherinc's Girls Sccondary
School, Nkwere
Hnfy Rusary Sccondary %.tiool,
Ihioma
Township Conlprcherrsive Secondary I I
Scliool. Amaifekt
Secondary Tectiniwl School, Umuowa
I Ogberuru Sccundaq School
LOCATION
Nkwcrc
Nkwere
Orlu
Orlu
Orlu
Orlu
NO. OF; MUSIC TEACIIERS
220
APF'ENDIX G
FCSRMUI,AI% FOR L-DNI3ACH ALPHA, MEAN, STANDARD DEVIATfON, t-+TTS USED
FOR THK STLVY
Cro~ibach Alpha
n - Numbcr or t c s ~ itcm
EVar = Sum of varimce of each ilcm
Var t = Variance of the rest
x, - x, t - t e s t = ,
Standard Deviation f S D ) =
CfX = Total of Scores
Cx
n = number of respondents
'. 11 -1
- - X, & X, = Group Mean Scores
C X = Sum mean deviation
CaIculatisn was carried out using SPSS.
Catcgarics and
Clusters
CAT. A
(Clusr ersj
A - l
A - I1
A - 111
A - IV
A - V
CAT. %.
B - I
B - 11
Group of Items
I - G
7 - 12
13 - 20
21 - 23
24 - 28
29 - 34
35 - 38
'Importance
Levcl'
' P c r f o r m d c
Level '
Categories and
Clusters
CAT. C.
Group of ltcms 'Importance 'Performance
Levcl '
0.74
Categories and Group of I r m s I Level'
224
AWEhTlIX I
RESPONSES OF THE ENUGU STATE MUSIC TEACHEW3 ON THE
IMPORTANCE OF THE THREE W S l C COMPETENCY CATEGORIES A, B,
and C
Category A:
Category R:
Category C:
Functional
Kcybard
Activities
Vocal
Activities
Professional
EducationlMu-
sic Mucalion
MEAN
Important
Important
Important
The above s h w s the mean response of the music teachers on the importance of
each v f the categories used for the study. Category A consists of five clusters with a total
of 28 cornpctency statements. Category B consists of 10 clusters with a total numher of
59 competency statements and Category C consists of five clusters with a total of 28
competency statements. Altogether there are 115 competency items.
225
It also revealed that the music teachers in Enugu State schools rated all rhe
categories important with Category C, Professional EXucaticdMusic Education rated
highest with a mean of 4.14. Second in the order of importance is Category B. Vocal
Activities and lastly Category A, Functional Keyboard Activities was rated 3rd i n
importance with a mean of 3.57.
APPENDIX J
RESmNSES OF THF 40 EwGU STATE MUSIC TEACHERS ON 7 M I T R
PEWSUMANCE LEWIS ON THE CA7EGORE.S OF THE MUSIC
Category A:
Category B:
Category C:
Functional
Keyboard
Activities
Vocal
Activities
Professional
Ecfucat ion/Mu-
sic Education
MEAN Remarks --l Not
Performing
Performing
Performing
The above presents the analysis of the teachers' performance in the tlwec bnlad
categories. The teachers performed un the average in Category C, Professional
EducationMusic Educa~ion but below average in Categories A, Functional Keyboard
Activities and B, Vocal Activities. The Ieast level of performance is in Calcgory A -
Functional Keyboard Activities with a mean of 2.95.
APPErnIX K
RESPONSES OF THE 40 MUSIC TEACHERS IN ENUGU STATE
SECONDARY SCHOOL! ON THE IMPORTANCE LEVELS UP THE
CLUSTERS OF THE MUSIC COMPETENCY
Clusters of Comperencies
A-IV
A-V
Aunl
perception of
tuned and
untuned piano
Knowkdge of
keyboard
repertoire
Sight singing
from a vocal
score
Classifying
voices
Developing
Mean
breath control 1
Remarks
Important
Not Important
Important
Important
Important
Ciusters of Competencies
-
B-IV
B-VII
B-VIII
B-IX
Training the
adolescent
voice
Conducting
tho i rs
Analy sing
~ 8 1 scores
Knowledge of
song repertoire
Interpretat ion
of vocal i nu sic
tllrough
rhy thrnic
movement
Appreciating
vocal music
Mean Remarks
Important
Important
Important
Clusters of Competencies Mean
B-X
C-I
C-I V
Writing simplc 3.75
vocal music for
inexperience
Planning a 4.42
music Iesson
DeveIoping 3,97
instruct ions
work and
pupils
Discipline 1427 and
management I Evaluating 1.- performance of I students I
SD / Remarks
.78 Important
.72 Important
.77 Important
The above shows that 18 clusters were rated important The highest mean score is 4.42 for Cluster C-I.
SD - Standard Deviation
APW,F,NDIX L
231
by the music teacher respondents.
1' I - ,
1,
i
SIN
1
2
4
5
B
b I
Meao
3.18
3.16
2,GG
0.01
2.74
3.09
3.38
3.09
3.011
3 .19
2 .98
3.03
2.89
Clustcr Sfafcnlcn~s
Clusccrs
Ci. A-I - Sight-wading music scow.; trn h c ksyl~oarrl
CI. A-I1 - Skill in a~companying or n~usic
CI. A411 - Allittide rawrtds piano nlusic
CI. 11-iV - Aunl yrccpriun o r hlwd and unrunctl pi:lnc,
CI. A-V - Knnwltdgr: 01 keyhoard wpnujrs
CI. B-I - Sight-singing f m n ~ a vmal scorc
CI. 0-11 - Classiiying vr6cw
CI. U- i l l - Developing hm!h control
SD
:: I (i
17
1R
I9
20 -
1 9
I!
I I
12
13
- P or XP
0. R-N - Training the adnlcrccnt 'oicc
CI. B-V - Conrluaring chairs
C1. El-VI - Anaty.ring VWI scores - . - - ~
Cl. D-VIl - Knorvlcdge of song rcpnoire
[51. LbV111 - 1nrcrptmtion of vmr1 music llmugh rl~yrhnic ~novcmcrrt
.75 CII. 6-IX - Apprcziaiing vnral nnlcic
Cl. D-X - Wrili~ig s i~i~plz v ~ : d nus sic fur incxptric~rrd singen
Ct. C-1 - Plmninp, a nrusic Icsson
Cf. C-Il - Developing inarruclionel marcrials
CI. C-I11 - Iarerc~t in work and pupils
Cl. C-IV - D~sciplii~/rnrrml;cment
C1. C-V - EvaIuarirrg pefiorm~wc nf students
N 1'
.77
5.27
3.21
3 .93
3.40
3.29
3 .
3.31
N P
- .G9 N P
.SR
.80
P
KP
.72
.57
NP
N P
M I HP
,621 P
.95
,68
NP
X P
1 .90 1 NP
.S8 NP
.P7 N P
.86 X P
.M XP
.B9 N P
.74 ir'P -
.G7 N P
.78 KP
APPENDIX M
PERFORMANCE LEVETA OF THE RESPONDENTS ON THX 100
COMPEmNCES THEY RATED lM3'3RTANT FOR EFFECTTnl7;, TEACHING
OF MUSIC IN THE SECONDARY SCHOOL? SH0'5VlNG THE ONFS THEY
POSSESSED AND NEEDED
Cornpe tencics
Consider the prcvious
experience of students when
Maintain an orderIy
atmosphere in class
Divide scheme of work into
units and into daily lesson
topics
Provide a cIassrooni
atmosphere where individual
difference can be
accommodated
-2
Importance Perforn~ance
Lmel Lcvel
Remarks
Competencies
Sing from staff to solfa
notation
Possess good human relations
Apply appropriate corrective
measures to iridiscipline
behaviouss of students
maturc Apply current tune si,
when sight-singing
Identify specific behavioural
objectives for a lesson
Arrange the voices according
to qualities
Importance
Remarks
Level
3.30 Needed
Possessed iq----
3.33 Needed
Possessed G q - -
Competencies
Develop teachermade
materials e.g. charts, models
Control discipline problems to
promote the learning
experiences of the students
Use a variety of evaluation
devices and prmedures e.g.
tests, assignments and projects
Structure and sequence
rehearsals properly
relationship with his sludcnts
Level
Remarks
Needed
Needed
Possessed
Transpose tunes to suit thc
compass of pupils' voices
Take appropriate decisions to
slop and rehame when
necessary
Use songs adequately to suit
varying situations
- 11ivoIve students in preparing
Keep instnrctiona1 materials
neat and safe
Possessed d
Fort-rlulate a system of grading
in music consistent with the
school policy
Participate in choral activities
Discriminate between good and
bad quality voice production
Identify important structures,
e.g. form, phrase, modulation,
etc.
Use students' goad bchaviour
to encourage them
Develop high singing ability in
pupils
Importance
Level
- X-
Performance
Level
Remarks
Needed
Possessed
Competencies
Detect when n piano is in tune
or out of tune
Use text rcsults to improve
teaching and learning
. - - - -
Develop in pupils the ability to
sing songs with rhythmic
precision
Appraise students' perhrmance
in relation to stated khavioural
objectives
Competencies
Show knowIedgc sf physical
and mental developments of
students in the secondary
schools
Improve the weaker voiccs to
high Ievcl of perbrmance
Interpret vocal music freely
Possess good musics! ear
Encourage creative vocal music
making
Provide for individual
differences in students
X
Importance
k v c l
Performance
Remarks
Possessed
Needed
Competencies
CounseI to improve individual
pupil's achievement in music
Devise some vocal music
reading techniques for
heginners
Care for and maintain the
piano
Illustrate musical examples
using the voice
Test voice frequently and
inclividually for proper
cIassi fication
- -
Display genera1 rnusiciarlship
5-
Importance
Level
4.02
4.00
4,00
3.98
3.95
3.98
- -X- Remarks
Needed L
Competencies
Apply basic theory and
rudiments
Assign voices For proper blend
and balance
Identify songs from various
cultures
Encourage intelligent and
purposeful listening to vocal
music
Read music in piano keyboard
at sight
Maintain steady tempo while
sight reading
- -X- Rcrnarks
Performance
LcveI
Write voice training exercises
I
I
I I
in various ways
SIN
j2
5 3
- 54
55
Read a vocal score proficiently
Compare works of conlposers
from different periods for
purposes of identification
Use specific fundamental
rhythms as basic means of
movement
Assist pupiIs tn acquire or
form musical taste
Remarks
Competencies
Usc audio-visual aids in music
effectively e.g. radios, records,
cassettes
Draw a mental picture of any
given choral piece
Conduct a choir while rcadir~g
Involve students in formulating
prncedura for self-examination
Encourage pupils to enjoy
v ~ a l music
Level
Remarks
Level
- Cornptencics -Xu
Importance
Levcl
Cater especially for the need of 3.88
the handicapped student in the
class
Acquire knowledge of simple 3.87
chord progression
Demonstrate g d breath using 3.85
vocal exercises
techniques For students to
evaluak their own progress I Apply rhythmic notations 3.83
correctly
Level
Encowage students to enjoy
piano music
Apply ~ o r d s to vol;vcls used in
voice training exercises
Develop and use various types
of validated tests in music e .g .
matching, true-fafse,
completion etc
DcveIop vocal and nasal
remedies in pupils
Acquire good knowledge of the
respiratory system
Knowledge of ruIes for breath
control
Analyze and synthesize all
parts of the piece
Develop and improve the aural
imagination of pupils
Sequence voice training
exercises for easy attai~lnlent
- - - -
Demonstrate musical examples
an the keyboard
Improvise accompaniment to
instrumentalists or so10 singers
Remarks
Importance Performance
Lcvel Level
3.78 3 .03 9 9
3.78 3 .03 1 5
3.75 2.90 ? I
Competencies
Dcmonstratc the skills ~f
various techniques of piam
playing
- Sing a part in a vmal score of
Soprano, AIto, Tenor, Bass
with confidence
Attend to position of chest,
breath and control over breath
Classify vocal pieces
acco rdi ngI y for easy
accomplishment
Write simple rhymes using
simple meIodic movements
2-
Importance
Lcvel
3.73
Remarks
Rcrnarks S/N
53
84
85
85
87
Campetcncics
ldenlify the harmonic str-ucture:
polyphonic or homophonic
Encourage satisfactory
responses to musical stimuli
Sight-read melcdy and
harmonic prngression at the
same time
Combine rhythm, drama and
movemcnt in a vocal lcsson
Self-composed am confident
while accompanying music
- X
irnpurtance
Level
3.70
3.70
3.67
3.67
3.65
- X
I
Pesfonnance
Level
3.03
2.98
3.30
2.95
3 .23
Compe tcncies
Detect nasal obslruction with
the purpose of suzpesting
remedies
Write simple piano
accompaniments
Communicate in different
languages
Plan singing lessons from
various types of song literature
Write simple, short, repetitive
songs to be learnt by rote
Usc appropriate part songs for
the vocaI compass
3-
Perforn~arice
Level
Remarks
Competencies
Make use of various piano
Iiterature to enhance piano
playing Iessons
Arrange short pieces for voice
and orchestra
Aural imagination of vocal
scores in sectio~ls
Play piano music of any
standard with confidence
Freely interpret piano music
Choose song texts assnciatecl
with concrere objccts
Performance
Remarks
- -
Competencies
Arrange pieces for proper
blend of voice and orchestra
Importance Performance
APPENDIX N
mWORMANCE LEVELS OF THE RESPONDENTS ON W E 15
COMPETENCXES THEY RATED "NOT JIWPORTANT'
Transpose during
congregational singing
Appreciate contemporary and
old style of keyboard music
Detect keyboard music
Listcn to piano musk with
focused attention
Encounge pupil parlkipation
in keyboard activities
- -x-
Iniportant
Level
3.33
3.28
2.95
2.38
2.20
- X
Perfol-mance
Level
2.73
2.73
2.80
2.50
1.87
Remarks
Needed
3 )
* 7
? 9
1 9
Exourage the study and
practice of piano music
Tune and repair the piano
Play Afrkan music rhythm u i ~
the keyboard
Play orchestral reduction
U s g e of C Clcf for figured
bass
Use of the medium register as
a point of departure at the
n i m t of change in boys
Develop muscular, vocal co-
ordination and control
- -X
Important
Ixvei
2.28
3.26
3.45
2.28
3.36
3.35
3 -45
N = 40
- -X
Perfo~~tlance
Level
1.93
2.35
2.62
2.63
2.85
2.55
2.80
13. Wriie music shortl~and for
transcription to vocal music
14. Train pupils to focus listening
on elements of structure,
tempo, for example
15. Present information with the
aid of a flannel board
- -X- -75
Important Performance
Levcl Level